5220 

W16C1 

1907 


THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


7 2 


m 


CATALOG 

OF  THE 

ART  COLLECTION 
T.  B.  WALKER 

803  Hennepin  Avenue 

MINNEAPOLIS,  MINN, 


1907 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/catalogofartcollOOunse 


ARTISTS  REPRESENTED 


BAROCCIO,  Fedrigo,  1. 
BEECHEY,  Sir  William,  2. 
BERCHEM,  Nicholaas,  3,  4. 
BERRY,  P.  V.,  5. 

BRETON,  Jules,  6. 

BIERSTADT,  Albert,  7. 

BOL,  Ferdinand,  8. 

BONHEUR,  August  Francois,  9. 
BONHEUR,  Rosa,  10,  11. 

BOULANGER,  Gustave,  R.  C.,  12, 

13. 

BOUGUEREAU,  William  Adolphe, 

14. 

CARPENTIER,  Adrian,  15. 

CANO,  Alonso,  16. 

CAZIN,  Jean  Charles,  17,  18,  19, 

20,  21,  22. 

CEDARSTROM,  Thure  Von,  23, 
CIPRIANA,  Gio  Battista,  24. 
CONSTABLE,  John,  25. 

COTES,  Francis,  26. 
CROCHEPIERRE,  Andre  Antoine, 

27. 

COROT,  Jean  Baptiste  Camille, 

28,  29,  30,  31,  32,  33,  34. 

CUYP,  Albert,  35. 

DEVE,  E.,  36. 

DEMONT-BRETON,  Mme.  Vir- 
ginie  Elodie,  37. 

BE  BRUSH,  C.  F.,  38. 

DIAZ,  De  la  Narcisse  Virgile,  39. 
DIETERLE,  Mme.  Marie,  40. 
DOLCI,  Carlo,  41. 

DOBSON,  William,  42,  43,  44. 
DUPRE,  Jules,  45,  46. 

DUPRE,  Leon  Victor,  47. 

DU  NUOY,  Le  Comte  Jean,  J.  A., 
48,  49,  50. 

ESSELINS,  Jacob,  51. 

FRANCAIS,  Francois  Louis,  52. 
FABRITIUS,  Karel,  53. 

FRERE,  Theodore,  54. 


FLINCK,  Govaert,  55,  56. 

GAINSBOROUGH,  Thomas,  R.  A., 
57. 

GELDER,  Arnold  de,  58. 
GERICAULT,  Jean  Louis,  A.  T., 
59. 

GREUZE,  Jean  Baptiste,  60. 
GHIRLANDAJO,  Domenico  del, 
61. 

GROS,  Antoine  Jean  (Baron),  62. 
GUARDI,  Francesco,  63,  64. 

HAMMAN,  Edouard  Jean  Conrad, 
65. 

HARPIGNIES,  Henri,  66,  67,  68. 
HART,  James  McDougal,  69. 
HARLOW,  George  Henry,  70. 

HELST,  Bartholomeus  van  der, 
71. 

HERMANN,  Leo,  72. 

HENNER,  Jean  Jacques,  73,  74, 
75. 

HOGARTH,  William,  76. 
HOBBEMA,  Minderhout,  77,  78. 
HOLBEIN,  Hans,  the  Younger, 

79. 

INGRES,  Jean  August  Dominique, 

80. 

ISBEY,  Jean  Baptiste,  81. 

INNESS,  George,  82. 

INNESS,  George,  Jr.,  83,  84,  85, 

86. 

JACQUE,  Charles  Emil,  87,  88,  89. 
JACQUIN,  S.,  90. 

JANSSEN,  Cornelius,  91. 
JETTELL,  E.,  92. 

JULIEN,  S.,  93. 

KNAUS,  Prof.  Ludwig,  94. 
KNELLER,  Sir  Godfrey,  95,  96, 
97. 

LAWRENCE,  Sir  Thomas,  99,  100, 
101,  102,  103. 


ARTISTS  REPRESENTED 


LAURENS,  Jean  Paul,  104. 
LEFEBVRE,  Jules  Joseph,  105. 
LEFEBRE,  Robert,  106. 
LEROLLE,  HENRI,  107,  108. 
LELY,  Sir  Peter,  109. 
LORRAINE,  CLAUDE,  110. 
LOSSOW,  Heinrich,  111,  112. 
LOIJTHERBOURG,  Philippe, 
Jacques  de,  113. 

MARATTI,  CARLO,  114,  115. 
MARILHAT,  PROSPER,  116. 
MAX,  Gabriel,  117. 
MICHELANGELO,  118. 

MIGNARD,  Pierre,  119. 

MORAN,  Thomas,  120,  121. 
MORAN,  Edward,  122. 

MURILLO,  Bartholome  Esteban, 
123. 

MYTENS,  Daniel,  124,  125. 

OPIE,  John,  126. 

PARTON,  Arthur,  127,  128. 
PEALE,  Rembrandt,  129. 
PIOMBO,  Sebastiano  del,  130. 
POKITANOW,  Ivan,  131. 
PORBUS,  Francis,  Jr.,  132. 

PYNE,  James  Baker,  133,  134. 

RAEBURN,  Henry,  135,  136. 
RAPHAEL,  137. 

RAU,  Emil,  138. 

REMBRANDT,  van  Rijn,  139, 
140,  141. 

RENI,  Guido,  142. 

REYNOLDS,  Sir  Joshua,  143,  144, 
145,  146. 

RIGAUD,  Hyacinthe,  147. 


RIX,  Julian,  148,  149. 

ROMNEY,  George,  150. 

ROBIE,  Jean  Baptiste,  151. 
ROSIER,  Jean  Guillaume,  152. 
ROUSSEAU,  Theodore,  153,  154p 

155,  156. 

RUBENS,  Peter  Paul,  157. 

STUDENTS  IN  PERUGINO’S 
STUDIO  about  1503,  158. 
SAFTLEVEN,  Herman,  159. 
SCHREIBER,  Charles  Baptiste, 
160. 

SEIBOLT,  Christian,  161. 
SCHREYER,  Adolphe,  162,  163. 
SCHIRMER,  Johann  Wilhelm,  164. 
SCHUT,  Cornelius,  the  Elder,  165. 

THAULAW,  Fritz,  166,  167. 
TURNER,  Joseph  Mallord  W.,  168, 
169,  170,  171,  172,  173. 
UTTERBERGER,  Franz,  174. 

VAN  DYKE,  Sir  Anthony,  175, 
176. 

VAN  MARCKE,  Emil,  177. 
VASARI,  Giorgio,  178. 

VERNET,  Claude  Joseph,  179. 
VERBOECKHOVEN,  Eugene 
Joseph,  180. 

VERSPRONCK,  Jan,  181. 
VUILLEFROY,  Dominique  Felix, 
182. 

WALKER,  James  Alexander,  183. 
WATSON,  William,  184. 
WESTERBEEK,  C.,  185,  186. 
WILSON,  Richard,  187. 

ZEIM,  Felix,  188,  189,  190,  191. 


SOME  VOLUNTARY  COMMENTS  BY  VISITORS. 

“This  is  the  unique  gallery  of  all  that  I have  seen. 
Every  picture  on  these  walls  is  genuine  and  of  the  highest 
order  of  merit.  In  most  all  collections  the  larger  part  of 
the  pictures  are  commonplace,  mediocre  or  uninteresting, 
and  amongst  them  many  that  are  not  genuine.  All  of 
these  are  most  satisfactory  examples  and  worthy  of  a 
place  on  the  walls  of  any  gallery.” 

JOSEPH  JEFFERSON. 

“I  have  made  art  a special  study  and  have  taken  great 
interest  in  it  to  that  extent  that  I have  made  it  a specialty 
on  which  I have  delivered  many  lectures.  I have  seen  the 
public  galleries  of  Europe  and  America  and  many  of  the 
private  ones,  and  I do  not  know  of  a collection  where  there 
is  such  a uniformity  of  high  class  art  in  any  gallery  that 
I have  ever  seen.  There  are  no  commonplace,  uninter- 
esting pictures,  but  all  are  beautiful  and  attractive  and 
genuine  examples  of  high  grade  art  of  many  of  the  fine 
painters  of  the  world.” 

DR.  B.  D.  HOLLINGTON,  Pastor, 
Central  Methodist  Episcopal  Church,  Toledo,  O. 

“The  writer  of  this  note  has  seen  and  studied  the  best 
galleries  of  the  world;  and  he  has  no  hesitancy  in  affirm- 
ing that  none  surpass  this,  and,  in  his  judgment,  very  few 
can  in  any  way  approximate  it.” 

REV.  FAYETTE  L.  THOMPSON, 

Pastor  Hennepin  Avenue  Methodist  Church, 

Minneapolis,  Minn. 

“In  the  name  of  myself  and  of  the  public,  I thank  him 
who  daily  gives  to  the  world  such  a wonderful  and  uplift- 
ing opportunity.  This  I wish  to  say  because  I sincerely 
feel  it.”  CORA  R.  GIBSON,  Art  Writer, 

St.  Louis,  Mo. 

“If  you  can,  meet  the  man  who  has  collected  this  great 
gallery,  great  because  it  represents  almost  every  school, 
and  there  is  not  in  it  all  one  spurious  picture  or  one  poor 

i 


picture.  Bonds  and  buildings,  forests  and  mills,  this  is 
the  game  that  he  plays,  but  he  plays  it  as  a Christian  gen- 
tleman should.  Libraries,  hospitals  and  churches,  these 
are  his  duty  to  humanity.  But  this  beautifully  brilliant 
gallery,  this  is  his  love. 

“A  Christian  gentleman,  and  spend  such  a fortune  on 
his  own  luxurious  enjoyment?  you  ask.  Yes,  a Christian 
gentleman,  for  he  only  gets  that  he  may  give.  He  gave  all 
his  pictures  to  me.  Half  way  across  Lake  Superior  in  a 
fog  I close  my  eyes  in  my  cabin  and  I am  back  again  with 
them  all  before  my  soul.  I thank  him  for  making  the  col- 
lection, but  the  pictures  are  always  forever  mine.  ‘When 
a person  becomes  a part  of  you,  then  you  love,’  says  Hugo. 
When  you  have  really  seen  a picture  it  becomes  a part  of 
you.  He  gives  this  collection  daily  to  his  own  city,  and  all 
day  long  men  and  women  are  accepting  his  free  gift. 
Two  hours  I spent  with  a man  in  a blue  blouse  of  a me- 
chanic, but  no  refinement  of  color  or  form  escaped  his  ap- 
prehension and  appreciation,  and  turning  at  the  door  he 
feelingly  said,  ‘But  the  best  thing  about  this  is  that  this 
fellow  don’t  keep  this  all  to  himself,  but  lets  us  all  own  it.’ 

“When  you  go  to  Minneapolis,  and  it  would  pay  you 
to  go  even  for  this  one  thing,  forget  not  to  see  this 
beautiful  palace  of  art.” 

REV.  B.  D.  HOLLINGTON,  Art  Writer, 

Toledo,  Ohio. 

Mr.  T.  B.  Walker,  Minneapolis,  Minn. 

My  Dear  Sir:  Last  year  I made  a special  trip  to  Min- 

neapolis for  the  purpose  of  seeing  your  collection  of 
paintings.  I had  heard  them  so  highly  spoken  of  by  many 
different  persons  who  had  visited  your  gallery  that  I 
deemed  it  worthy  of  a trip  for  the  express  purpose  of 
carefully  examining  the  collection.  I must  say  that  while 
I expected  from  the  reports  of  others  to  find  a fine  col- 
lection, I was  greatly  surprised  to  find  it  the  most  uni- 
formly beautiful  and  attractive  that  I have  ever  seen. 

I have  made  art  a business  and  study  for  many  years, 
have  visited  public  and  private  collections  in  this  country 


ii 


and  in  Europe,  and,  so  far  as  I can  make  a general  com- 
parison, I believe  that  no  other  gallery,  either  public  or 
private,  that  I have  ever  seen,  contains  so  uniformly  a 
high,  attractive  and  beautiful  array  of  pictures  as  I found 
in  your  gallery.  I was  more  than  surprised  and  put  in 
nearly  the  whole  day  in  a most  interested  examination 
and  view  of  the  paintings. 

The  perfect  freedom  with  which  people  are  admitted 
without  limitations  or  restrictions  is  different  from  any 
other  art  gallery  regulations  that  I have  ever  known.  I 
would  congratulate  your  city,  and  the  public  generally,  for 
this  most  attractive  exhibition  which  you  seem  to  have 
established  more  in  the  interests  of  the  public  than  for 
any  personal  use  or  interest.  Sincerely  yours, 

HENRY  REINHARDT, 
Chicago,  111. 

Review  of  art  gallery  by  Mr.  Blair  Hough,  Art  Critic,  of 
New  York  City,  published  in  New  York,  Chicago,  St. 
Louis,  Minneapolis,  and  other  papers,  May,  1907. 

Mr.  T.  B.  Walker  owns  a collection  of  rare  and  costly 
paintings  from  the  hands  of  the  world’s  masters,  covering 
the  last  five  hundred  years,  and  has  generously  opened  the 
great  gallery  to  the  public.  Any  one  is  at  liberty  to  call 
at  the  Walker  residence  and  view  the  paintings  and  other 
art  treasures  it  contains.  The  famous  art  galleries  of 
Europe  have  been  searched  and  their  choicest  treasures 
purchased.  Artists’  studios  have  been  explored,  and  with 
the  eye  of  a connoisseur,  Mr.  Walker  selected  bits  of 
canvas  that  have  made  their  painters  renowned.  Every 
master  of  note  since  the  fourteenth  century  has  con- 
tributed to  his  treasure  house  of  art. 

Raphael,  Rubens  and  Rembrandt,  whose  work  has  as- 
tonished the  world  for  centuries,  are  liberally  represented. 
Holbein’s  portrait  of  King  Henry  VIII.,  immortalized  by 
Shakespeare,  and  Myten’s  King  Charles  I.,  martyred  by 
Oliver  Cromwell,  with  all  their  associations  of  English 
history,  look  down  from  the  walls. 


hi 


Guido  Reni’s  Cleopatra,  Egypt's  only  queen,  and  Marc 
Antony’s  siren,  in  her  last  hour,  many  decades  old;  Lau- 
rens’ Lucretia  Borgia,  the  cruel  light  of  whose  eyes  makes 
one  shiver;  the  younger  Pourbens’  Maria  De  Medici,  her 
beautiful  face  wonderfully  lighted  in  a smile;  Sir  Godfrey 
Kneller’s  Nell  Gwyn,  whose  sweet  face  and  sparkling  eyes 
captivated  and  bewitched  a monarch’s  court,  all  recall 
romance  and  intrigue  of  centuries  long  dead. 

Guardi  and  Unterberger  transport  you  to  peaceful  Ven- 
ice with  her  sluggish  canals,  lazy  gondolas,  love-smitten 
swains  and  coquettish  maidens.  Esselenns  and  Ziem  por- 
tray street  scenes  of  far-off  lands  in  the  long  ago.  Rous- 
seau’s Sunset  is  a striking  bit  of  color.  Bierstadt,  Francais, 
Berchem  and  Mendert  offer  landscapes  and  pastorals  cele- 
brated for  their  technique.  Corot’s  “Aurora  Greeting 
the  Dawn”  is  a fine  conception  of  an  artist’s  dream.  Ber- 
chem’s  “Waterfall”  is  so  realistic  that  one  is  deluded  into 
hearing  the  water  leap  over  the  great  rocks.  Turner’s 
“Tower  of  London,”  somber  and  gray,  recalls  the  days 
of  guillotines  and  garrotes  and  stocks. 

The  world  famous  Rubens’  Madonna,  sorrowful  eyes 
lighted  by  heaven’s  love,  gazes  compassionately  down- 
ward. Dolci’s  Christ  Child,  Maratto’s  Visit  of  the  Wise 
Men,  Madonnas  by  Van  Dyke  and  Canos  and  Cipriani’s\ 
Virgin  inspire  higher  thoughts  and  create  better  impulses. 

There  are  almost  priceless  portraits  of  men  and  women 
famous  in  the  world’s  history  by  Piombo,  Sir  Thomas 
Lawrence,  Bol,  Isabey,  Sir  Joshua  Reynolds,  Gros,  Mig- 
nard,  Cotes,  Janssens,  Hogarth,  Flinck  and  others  of  less 
renown. 

Mr.  Walker  is  also  a liberal  patron  of  American  art, 
and  much  of  the  best  work  of  these  artists  has  found  its 
way  into  his  galleries. 

The  gallery  is  elegantly  appointed  and  adjoins  his  resi- 
dence on  Hennepin  avenue.  His  magnanimity  in  opening 
this  to  the  public  is  almost  without  parallel  and  is  praised 
by  visitors  and  the  people  of  Minneapolis  alike. 


IV 


BAROCCIO  (Federigo).  Called  also  Fiori  da  Urbino. 

Born  at  Urbino  in  1528. 

Died  there  in  1612. 

“Roman  School;  son  and  pupil  of  Ambrogio  Barocci; 
afterwards  studied  under  Francesco  Menzocchi  and  Bat- 
tista Franco  at  Urbino.  In  1548  he  went  to  Rome  and 
both  studied  and  copied  works  of  Raphael  four  years.  On 
his  return  to  Urbino  he  painted  a picture  of  St.  Margaret 
and  other  works  which  gave  him  a great  reputation.  In 
1560  he  was  invited  to  Rome  by  Pius  IV,  and  painted  in 
the  Vatican  with  Ferrigo  Zucchero.” 

—Cyclopedia  of  Painters  and  Paintings. 

No.  1 — “Madonna  and  Child.” 

26x36. 

Mary  is  kneeling  by  the  manger  in  the  humble  stable 
holding  in  her  arms  the  infant  Jesus,  while  cherub  angels 
are  represented  as  preparing  his  couch  in  the  manger,  and 
otherwise  ministering  unto  him.  Others  are  seen  shed- 
ding their  light  from  above,  and  proclaiming  the  glad  ti- 
dings to  the  world.  The  picture  is  painted  in  Baroccio’s 
usual  strong  and  pleasing  coloring. 


BEECHEY  (Sir  William). 

Born  at  Burford,  Oxfordshire,  Dec.  12,  1753,  died  at  Hamp- 
stead, Jan.  28,  1839. 


“Admitted  a student  of  the  Royal  Academy,  London, 


6 


T.  B.  WALKER  COLLECTION. 


in  1772,  and  after  painting  portraits  and  pictures  in  Ho- 
garth’s manner  several  years  in  Norwich,  returned  to  Lon- 
don, where  he  long  enjoyed  uninterrupted  favor  with  the 
fashionable  world.  In  1793  he  painted  a portrait  of  Queen 
Charlotte  and  was  appointed  by  her  royal  portrait  painter, 
and  became  an  A.  R.  A.” 

— Cyclopedia  of  Painters  and  Paintings. 

“He  was  very  celebrated  in  his  time  as  a portrait  paint- 
er. His  picture  of  George  III.  at  a Review,  now  at  Hamp- 
ton Court,  gained  him  the  honor  of  knighthood  and  the 
Royal  Academicianship.” 

— D’ Anvers’  Elementary  History  of  Art. 

“This  artist  was  articled  to  a solicitor  at  Stowe,  in 
Gloucestershire  and  transferred  to  the  office  of  another 
lawyer  in  London.  There  having  made  the  acquaintance 
of  some  artists,  he  prevailed  upon  his  master  to  release 
him,  and  was  admitted  a student  of  the  Academy  in  1772. 

“Beechey  excelled  in  producing  a striking  likeness. 
Considered,  however,  as  pictures,  they  have  not  the  solidity 
of  Reynolds,  but — perhaps  from  their  being  painted  with 
less  body  of  color — they  have  stood  better  than  his;  other- 
wise they  are  executed  very  much  in  the  manner  of  his 
great  predecessor.” — James’s  Painters  and  Their  Works. 

“Little  of  the  ideal  appears  in  his  compositions;  he  seized 
on  his  portraits  with  a vigorous,  rather  than  a delicate 
hand;  neither  did  he  succeed  in  summoning  mind  to  the 
brow  or  elegance  to  the  air  of  his  heads.” 

— Pilkington’s  Dictionary  of  Painters. 

“Enjoying  the  favor  of  the  Court,  fashion  followed  him, 
and  many  of  the  most  distinguished  of  his  day  were  among 
his  sitters.  In  his  early  career  he  had  painted  some  sub- 
ject pictures,  but  his  art  was  essentially  portrait.  His  chief 
merit  was  the  accuracy  of  his  likenesses.  His  coloring  was 
delicate  and  sweet,  particularly  in  his  female  portraits.” 

• — Redgrave’s  Dictionary  of  the  Artists  of  the  English  School. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


7 


“His  portraits  are  almost  numberless,  many  of  which 
are  of  a very  high  class  of  excellence.  Those  of  the  King, 
Prince  of  Wales,  and  Duke  of  York,  evince  a power  of 
handling  and  breadth  of  effect,  as  well  as  an  accuracy  of 
resemblance,  which  deserve  great  praise.  In  his  portraits 
of  men,  he  seems  to  have  been  deeply  imbued  with  a com- 
mand of  character  and  expression;  and  in  those  of  ladies, 
grace  and  beauty  are  ever  pervading.” 

—Spooner's  History  of  the  Fine  Arts. 

His  portraits  are  characterized  by  easy  attitude  and 
naturalness  of  expression  and  some  of  them  are  of  great 
excellence.” — Shedd’s  Famous  Painters  and  Paintings. 

No.  2 — “ Portrait  of  George  The  Fourth,  King  of 
England.” 

30x25. 

From  the  collection  of  Sir  Robert  Peel. 

George  the  Fourth  was  born  1762,  died  1830.  Was  fine 
looking  in  his  early  years,  but  profligacy  and  a licentious 
life  gave  him  an  undesirable  appearance  and  a character 
worse  than  his  looks.  A man  without  any  redeeming  traits 
of  character.  An  admirable  and  strong  reproduction  of 
a profligate  king. 


BERCHEM  (Nicholas). 

Born  at  Harlem,  1624. 

Died  in  Amsterdam,  1689. 

Dutch  school;  landscape,  animal,  history  and  portrait 
painter. 

Pupil  of  Grebber,  Van  Goyen,  Mogaart,  Jan  Wils  and 
Weenix. 

“He  had  an  easy,  expeditious  manner  of  painting,  and 


8 


T.  B.  WALKER  COLLECTION. 


an  inexpressible  variety  and  beauty  in  the  choice  of  sites 
for  his  landscapes;  executing  them  with  a surprising  de- 
gree of  neatness  and  truth;  he  gave  to  every  subject  as 
much  beauty  and  elegance  as  it  would  admit.  The  leafing 
of  his  trees  is  exquisitely  and  freely  touched;  his  skies  are 
clear;  his  clouds  float  lightly,  as  if  supported  by  air.  The 
distinguishing  characters  of  his  pictures  are  the  breadth 
and  just  distribution  of  the  lights;  the  grandeur  of  his 
masses  of  light  and  shadow;  a natural  ease  and  simplicity 
in  the  attitudes  of  his  figures,  expressing  their  several 
characters;  the  brilliancy  and  harmony,  as  well  as  the 
transparence,  of  his  coloring;  the  correctness  and  true  per- 
spective of  his  design;  and  the  elegance  of  his  composi- 
tion.” — Pilkington’ s Dictionary  of  Painters. 

“Berchem,  as  a painter,  surpassed  all  the  masters  he 
worked  under  in  Holland.  Painting  seemed  only  a pas- 
time to  him,  it  was  while  laughing  and  singing  that  he 
painted  his  best  works.  His  pictures  were  often  paid  for 
before  they  were  begun,  and  his  industry  was  equal  to  the 
rapidity  and  variety  of  his  conceptions  and  executions.” 

— Painters  and  Their  Works. 

No.  3 — “Scene  in  Holland.” 

31x41. 

From  Ruston  Hall  Collection,  Northamptonshire. 

‘Tis  said  of  this  artist,  that  his  best  work  was  done, 
while  laughing  and  singing,  and  in  this  magnificent  paint- 
ing, all  nature  seems  laughing  and  singing  with  him. 

On  the  right  is  seen  two  grand  old  oaks,  while  just  be- 
yond are  the  lazy  sheep  and  the  quaint  old  church.  On 
the  left  and  center  of  the  picture  is  a small  pond,  almost 
hidden  by  the  deep  foliage  of  neighboring  trees,  and  a 
hunter,  crouched  at  the  foot  of  the  large  oak,  is  carefully 
aiming  his  gun  at  a wild  fowl  sporting  on  the  water. 

The  clouds  are  more  fleecy  and  buoyant,  and  the  dis- 


INDEX  AND  BIOGRAPHICAL  NOTES. 


9 


tribution  of  lights  and  shadows  more  harmonious  and  na- 
tural, than  is  often  attained  by  any  other  painter. 

Let  us  hope,  that  the  huntsman’s  aim  is  faulty;  that 
the  wild  fowl  may  fly  away  to  enjoy  with  us  “God’s  out- 
doors,” which  is  so  vividly  portrayed  by  this  remarkable 
picture. 

No.  4 — “A  Waterfall.” 

33^x34. 

From  collections  of  Hon.  Toredene  Townsen,  Honniston 
Hall,  Shipton  on  Stour. 

High  up  on  a rocky  promontory  stand  the  vine-clad 
ruins  of  some  old  castle,  while  a modest  little  dwelling 
stands  just  beyond  in  the  shadow  of  the  cliffs.  On  either 
side  of  these  a divided  mountain  stream  comes  dashing 
down  its  precipitous  course,  over  craggy  rocks,  hurrying, 
eddying,  foaming,  on  its  way  to  the  sea.  Some  shepherds 
with  their  flocks  are  resting  on  the  banks  of  the  stream, 
which  gives  still  further  life  to  a very  beautiful  and  richly 
colored  landscape  that  is  hardly  equaled  by  any  of  the 
great  masters. 

BERRY  (P.  V.) America. 

Born  at  Troy,  New  York,  February  25,  1850. 

Studied  art  under  Professor  Lucien  Colliere,  at  St.  John’s 
College,  Fordham,  New  York. 

His  pictures,  from  their  natural  style,  are  fast  creating  for 
him  a wide  reputation. 

Exhibited  in  National  Academy  1883,  and  later  years. 

No.  5 — “In  the  Foot  Hills  of  the  Blue  Ridge  Moun- 
tains.” 

30x18. 

Through  a beautiful  valley  of  pasture  lands,  with  here 


10 


T.  B.  WALKER  COLLECTION. 


and  there  a cluster  of  brush  and  tall  grass,  a road  skirts 
a foot-hill  to  the  right.  On  the  road  some  cows  are  being 
driven  to  pasture  by  a man  on  horseback.  Through  the 
low  land  in  the  left  foreground  a little  creek  winds,  partly 
hidden  by  underbrush  and  bushes.  A strong  gleam  of 
sunlight  shines  through  a rift  in  the  clouds  to  the  left, 
illuminating  the  distant  trees  and  hills.  On  the  right  the 
sky  is  heavy  with  dark  and  lowering  clouds.  The  picture 
shows  a wonderfully  clear  management  of  light  and  shade, 
and  is  thoroughly  true  to  nature.  As  fine  and  beautiful 
as  are  Rousseau’s  finest  landscapes. 


BRETON  (Jules  Adolphe)  France. 

Born  at  Courrieres  (Pas-de-Calais),  1827. 

Pupil  of  Drolling  and  Devigne,  whose  daughter  he  married. 

One  of  the  best  French  painters  of  village  and 
country  life. 

Medals,  1857,  1859,  1861,  1867. 

Medal  of  Honor,  1872. 

Legion  of  Honor,  1861.  Officer,  1867. 

“M.  Jules  Breton  attracts  and  fascinates  me.  I love  the 
man  profoundly,  for  I know  him  well,  and  I admire  the 
painter,  having  followed  his  triumphal  march  from  canvas 
to  canvas  for  the  last  twenty  years.  Jules  Breton  is  a 
complex  being.  Poesy  has  endowed  him  with  two  strings 
to  his  bow;  he  describes  as  a thinker  and  artist,  and  paints 
like  a poet.  From  his  earliest  infancy  he  has  been  conscious 
of  this  gradual  development  in  face  of  nature’s  marvels. 
Thus,  little  by  little,  this  initiation  became  a creed,  so 
that  the  mysteries  and  wonders  of  the  earth  have  not  had 
so  eloquent  an  interpreter  since  the  time  of  Jean-Francois 
Millet.” — Eugene  Montraiser  in  Goupil’s  Great  Modern  Paint- 
ers. 

“M.  Breton’s  best  enemies  have  always  been  ready  to 
campare  him  with  Millet,  and  regard  him,  to  some  extent, 


INDEX  AND  BIOGRAPHICAL  NOTES. 


11 


as  Millet’s  pupil,  merely  because  M.  Jules  Breton  loves 
fields,  peasants  and  the  soil,  as  though  each  one  did  not 
see  nature  with  his  own  eyes,  colored  by  his  own  senti- 
ment. The  truth  is  that  no  comparison  of  these  two  paint- 
ers is  possible,  and  that  Millet’s  poetry  is  a thing  apart 
from  Jules  Breton’s,  which  is  fine  too.  What  is  precisely 
the  stamp  of  this  artist’s  great  power,  is  a fact  that  Mil- 
let’s success  as  a painter  of  the  ‘Angelus’  never  led  him 
astray  from  his  own  path,  and  that  his  individuality  was 
strong  enough  to  keep  him  from  being  drawn  into  the 
groove  traced  by  another. 

“In  ‘L’Appel  du  Soir,’  for  instance,  look  at  the  clear 
atmosphere;  at  the  two  beautiful  girls  calling  and  beck- 
oning to  their  comrades;  at  the  haymakers  carrying  their 
load  of  freshly  mown  hay;  is  it  in  the  least  like  the  work 
of  any  painter  but  Jules  Breton?  And  is  not  this  fine  pic- 
ture, with  its  charm,  its  conscientious  workmanship,  its 
lofty  poetry,  worth  any  number  of  those  would-be-master- 
pieces, sometimes  too  loudly  hailed,  only  to  suffer  from 
this  puffing  in  the  future  in  proportion  as  they  have  bene- 
fited by  it  in  the  past?” — Figaro  Exposition. 

No.  6 — “L’Appel  du  Soir.”  (The  Evening  Call.) 

51x33. 

This  is  one  of  the  most  important  pictures  of  the  col- 
lection. It  was  loaned  by  Mr.  Walker,  some  years  ago, 
to  the  Chicago  Art  Institute  for  exhibition.  The  follow- 
ing is  from  the  report  of  the  Art  Director. 

“Another  and  yet  finer  Breton  is  the  property  of  Mr. 
T.  B.  Walker.  This  is  a large  canvas,  ‘L’Appel  du  Soir,’ 
another  twilight  subject,  idyllic  in  its  graceful  tenderness 
and  purity.  The  lovely  swinging  pose  of  two  girls  who 
are  calling  across  the  wide,  dim  fields,  is  suggestive  of 
some  pastoral,  some  old-world  rite  at  eventide,  when  all 


12 


T.  B.  WALKER  COLLECTION. 


the  realities  of  life  fade  into  the  vague  distance,  and  the 
gods  whisper  strange  messages  into  mortal  ears.  The 
artist  by  color  and  line  and  atmosphere,  by  all  the  sub- 
tilties  of  his  craft,  has  emphasized  the  weird  poetic  dreami- 
ness of  this  bewitching  time,  and  the  result  is  an  idyllic 
pastoral  of  rare  beauty,  the  loveliest  picture  the  writer  has 
ever  seen  from  the  brush  of  Jules  Breton.” 

The  artist  writes: 

“Have  you  not  my  ‘Call  of  the  Evening,’  which  my 
friends  think  the  best  of  my  pictures — perhaps  the  best? 
I should  like  to  have  kept  this  picture,  of  which  I have 
thought  so  long,  and  it  is  sad  to  me  to  see  it  cross  the 
ocean  like  its  sisters.  Herewith  are  some  stanzas,  which 
the  picture  has  inspired  me  to  write,  and  which  I send 
you  quite  fresh  from  my  pen: 

“The  sun  was  just  setting,  leaving  a faint  redness  hardly 
perceptible  through  the  vapors  of  the  evening,  which  were 
rising  at  the  horizon  and  enveloped  it  like  a mysterious 
veil.  I wandered  on  the  plain,  calmed  and  cooled  after 
the  heat  of  the  day.  Everything  breathed  a serene,  peace- 
ful and  rural  majesty.  Some  haymakers  were  calling  from 
one  field  to  another  for  the  return  of  their  companions, 
and  their  voices  resounded  sonorously  in  the  midst  of  the 
perceptible  mist.  One  of  them  approached,  her  hand  to 
her  mouth  to  make  a trumpet  of  it,  another  waved  in  the 
sky  her  sickle  which  formed  a dark  crescent  by  the  side 
of  the  golden  moon,  whose  crescent  shone  in  the  distance. 
It  is  this  scene,  full  of  poetry,  which  I wanted  to  trace 
on  my  picture  and  translate  in  the  lines  which  follow: 

THE  EVENING  CALL. 

“It  is  the  time  for  calling  and  departure — 

All  is  vapor  upon  the  earth,  immovable  censor. 

The  sun,  appeased  by  the  freshness  of  the  evening — 
Extinguishes  its  sleeping  rays  flickering  in  the  mist. 

The  gleaner  has  uttered  her  cry  which  still  resounds 


INDEX  AND  BIOGRAPHICAL  NOTES. 


13 


While  her  companion  waves  her  sickle  in  the  air, 

Black  crescent  in  the  pale  sky  where  the  stars  twinkle 
Where  the  new  moon  forms  her  crescent  of  gold.” 

“The  present  picture  is  entitled  ‘L’Appel  du  Soir,’  and 
formed  part  of  the  Breton  exhibit  at  the  Paris  Exposition. 
In  none  of  his  idyls  of  the  life  and  labors  of  the  field,  in 
which  he  touches  with  the  poetic  tenderness  and  hopeful- 
ness those  subjects  which  Millet  so  often  interpreted  with 
the  sober  force  of  tragedy,  has  Mr.  Breton  so  subtly  con- 
veyed the  sentiment  of  that  rare  volume  of  poems  of 
which  he  is  the  author,  and  in  which  he  sings  in  words  as 
he  paints  in  colors,  with  the  thrilling  carol  of  the  lark 
drunk  with  the  dews  of  morn,  or  the  lingering  harmonies 
of  the  nightingale,  swooning  in  an  ecstacy  of  song  among 
the  perfumed  shadows  of  the  twilight. 

“It  is  the  end  of  day.  Nature  veils  the  harvest  traits  of 
her  inflexible  visage,  ever  beautiful  but  ever  stern  in  re- 
minders of  eternal  duty  to  the  poor.  The  fires  of  vine 
branches  and  wayside  fagots  glimmer  under  cabin  pots 
watched  by  purblind  eyes  and  stirred  by  shaking  hands, 
for  we  who  till  the  soil  and  gather  in  the  harvest  must 
labor  till  the  last  palsy  strikes  us  down.  But  we  are  not 
yet  all  old,  and  we  who,  in  the  open  fields,  still  sturdy  of 
frame  and  bone,  still  holding  within  ourselves  some  phan- 
tom of  the  romance  of  life,  uncrushed  by  accumulating 
realities,  can  straighten  stiffened  muscles,  at  the  first  call  of 
the  little  gray  owl  in  the  thicket,  the  watchman  whose 
duty  begins  when  the  sun  ends,  and  sends  the  welcome 
summons  ringing  from  voice  to  voice  across  the  busy 
farms  that  the  day  is  gone,” — The  Collector. 

M.  Breton’s  daughter,  Mme.  Demont-Breton,  says: 

“My  father’s  friends  think  this  ‘Call  of  the  Evening’  is 
his  best  picture,  and  my  father  thinks  so  also.  I am 
sure  it  is  the  best  picture  he  has  ever  painted,  and  my 
husband  and  our  friends  are  of  the  same  opinion.  I am 


14 


T.  B.  WALKER  COLLECTION. 


very  glad  that  my  picture  (‘Her  Man  is  on  the  Sea.’),  is 
going  into  the  same  collection  with  this,  the  best  of  my 
father’s  work.” 


BIERSTADT  (Albert) New  York. 

Born  at  Dusseldorf,  Germany,  1830. 

Brought  to  New  Bedford,  Massachusetts,  when  very 
young. 

Studied  at  Dusseldorf  and  Rome. 

Elected  member  of  National  Academy,  1860. 

Chevalier  of  the  Legion  of  Honor,  1867. 

Order  of  St.  Stanislaus,  Russia,  1869. 

Again  visited  Europe  in  1867,  1875  and  1883. 
Imperial  Order  of  the  Medjidii  from  the  Sultan  of  Turkey. 

Medals:  Austria,  Germany,  Bavaria  and  Belgium. 

In  1867  he  was  sent  to  Europe  upon  a government  com- 
mission, to  make  studies  for  a painting  of  the  “Discovery 
of  the  North  River  by  Hendrik  Hudson.”  Several  of  his 
pictures  are  owned  by  the  United  States  government. 

“The  same  careful  finish  of  detail,  skilful  management 
of  light,  and  eye  for  picturesque  possibilities  which  made 
Bierstadt’s  Old  World  subjects  so  impressive  and  sugges- 
tive, have  rendered  his  studies  of  American  scenery  full 
of  bold  and  true  significance.  He  is  not  a mere  copyist 
of  nature,  but  an  artist  having  definite  artistic  intentions, 
and  carrying  them  out  with  care  and  resolution.  He  is 
always  trying  for  luminous  gradations  and  useful  opposi- 
tions, and  reaches  what  he  tries  for.” 

— London  Saturday  Review. 

No.  7 — “California  Sunshine.” 

19^x1314, 

This  scene  is  taken  from  one  of  the  valleys  of  Lower 
California.  The  water  stands  in  pools  under  the  scatter- 


INDEX  AND  BIOGRAPHICAL  NOTES. 


15 


ing  trees.  Deer  are  feeding  on  the  tall  grass,  and  the 
air  seems  loaded  with  the  mist  and  vapor  that  arises  from 
the  teeming  earth,  the  whole  deluged  with  a flood  of  yel- 
low sunlight.  There  is  a wonderfully  tranquil  and  placid 
expression  of  beauty  in  this  picture.  As  a study  in  com- 
position, perspective  and  distance,  it  is  worthy  of  the 
closest  attention.  The  artist  has  handled  his  theme  with 
great  delicacy  and  much  knowledge  of  natural  beauties. 


BOL  (Ferdinand) Holland. 

Born  at  Dordrecht,  1611.  Died  at  Amsterdam,  1680. 
Dutch  School:  Pupil  and  contemporary  of  Rembrandt, 

whose  studio  he  entered  in  1630. 

Painted  many  fine  historical  pictures  and  portraits. 

He  excelled  in  portraits,  which  are  in  nearly  all  the 
principal  galleries  of  Europe — Berlin  Museum;  Brussels 
Gallery;  Louvre,  Paris;  Dresden  Gallery;  Amsterdam  Gal- 
lery; National  Gallery,  London;  Baring  Collection,  Lon- 
don; Leyden  Gallery;  Hague  Museum;  Dublin  National 
Gallery,  etc. 


No.  8 — “Portrait  of  an  Old  Lady.” 

26^x31. 

This  is  painted  in  the  strong,  rich  colors  of  the  Rem- 
brandt school.  It  is  the  portrait  of  an  old  lady  wearing  a 
large  ruff,  common  to  that  period  of  history.  The  back- 
ground is  a dark,  rich  brown  color.  The  dress  is  a little 
heavier,  but  in  largely  the  same  tone,  while  the  ruff,  in  a 
yellowish  white,  makes  a fine  contrast  below  the  face,  with 
the  dark  background  and  black  hair.  In  the  lower  left- 
hand  corner  is  the  artist’s  signature  and  the  date,  1654. 

Came  from  Colnaghi,  London. 


16 


T.  B.  WALKER  COLLECTION. 


BONHEUR  (August.  Francois)  France. 

Born  at  Bordeaux,  1824.  Died,  1884. 

Medals,  1857,  1859,  1861,  1863. 

Legion  of  Honor,  1867. 

“This  artist  painted  animals,  with  landscape  backgrounds 
of  more  mellowness  and  beauty  than  his  sister  Rosa’s.  He 
attained  the  honor  of  Chevalier  of  the  Legion  of  Honor, 
1867,  and  but  for  the  eclipsing  fame  of  his  sister,  would 
have  gained  an  even  wider  reputation  than  hers.” 

— French  Painters  and  Paintings. 


No.  9 — “Cattle  Resting  in  the  Shade.” 

28x22, 

A herd  of  cows  are  resting  under  the  dense  foliage  of 
large  trees  at  the  foot  of  a hill.  One  of  the  cows  is  stand- 
ing in  the  middle  of  a small  pond  in  the  foreground,  while 
others  are  ruminating  in  the  shade  on  its  banks.  It  is  a 
bright  sunny  day  and  the  shadows  of  the  foliage  on  the 
hillside  are  striking  and  effective.  In  the  distance,  on  the 
hill-top,  another  herd  is  seen,  through  the  opening  between 
the  trees,  while  the  bright,  blue  sky  forms  an  excellent 
background.  The  verdure,  the  foliage,  and  the  warm 
and  beautiful  coloring  all  lead  us  to  acknowledge  the 
greatness  of  this  artist’s  genius. 


BONHEUR  (Marie)  Rosa Paris. 

Born  in  Bordeaux,  March  22,  1822.  Died  May  26,  1899. 
Animal  painter. 

Daughter  and  pupil  of  Raymond  Bonheur. 

Began  by  copying  in  the  Louvre;  aftewards  made  stud- 
ies and  sketches  near  Paris.  Her  first  two  pictures  ex- 
hibited at  Bordeaux  m 1841  attracted  much  attention,  and 


INDEX  AND  BIOGRAPHICAL  NOTES. 


17 


were  followed  by  others  which  established  her  world-wide 
fame.  During  the  Franco-Prussian  war  her  studio  and 
residence  were  respected  by  special  order  of  the  Crown 
Prince  of  Prussia.  Since  1849  she  has  been  director  of 
the  Paris  Free  School  of  Design  for  Young  Girls,  which 
she  founded.  She  was  elected  member  of  Antwerp  In- 
stitute in  1868.  Medals  first  class  1848  and  1855;  Legion 
of  Honor,  1865;  Leopold  Cross,  1880. 

The  “Ploughing  in  Nivarnais”  was  placed  in  the  Lux- 
embourg, and  the  “Horse  Fair”  was  a leading  attraction 
at  the  French  Exposition  in  1853,  and  at  the  Universal 
Exposition  at  London  in  1855.  The  artist  worked  eighteen 
months  on  this  latter  picture,  attending  the  horse  market 
in  Paris  twice  a week  regularly  during  the  time. 

In  addition  to  the  honors  referred  to,  this  artist  has  re- 
ceived several  other  medals,  and  in  1865  was  decorated 
with  the  Cross  of  the  Legion  of  Honor. 

“The  greatest  animal  painter  now  in  France  is  probably 
Rosa  Bonheur.  There  is  the  same  intense  observation 
and  sympathy  with  nature,  the  same  vigor  of  treatment, 
we  find  in  the  works  of  Troyon  and  Landseer,  so  far  as 
the  representation  of  cattle  is  concerned.” 

— L.  G.  W.  Benjamin. 

“The  most  accomplished  female  painter  who  ever  lived.” 

— Phillip  Gilbert  Hamerton. 

“And  she  is  praised  for  firmness  of  design  and  for  the 
grand  character  of  her  landscapes.” — Vapereau. 


No.  10 — “Rosa  Bonheur’s  Palette.” 

When  Rosa  Bonheur  had  finished  her  masterpiece,  “The 
Horse  Fair,”  her  godson,  Georges  Cain,  asked  here  for  the 
palette  which  she  had  in  her  hand.  With  the  palette  on 
her  thumb,  Mme.  Rosa  smiled  and  said,  “I  intended  to 
keep  that,  as  I have  used  it  for  over  twenty  years,  but  if 


18 


T.  B.  WALKER  COLLECTION. 


you  must  have  it,  then  I will  paint  you  a picture  on  it.” 
She  then  painted  the  “Deer  in  the  Forest,”  and  added  her 
autograph.  The  paints  are  just  as  she  distributed  them, 
dried  around  the  edge  of  the  palette;  the  whole  is  framed 
under  glass.  Adverse  circumstances  compelled  the  owner 
to  part  with  it,  and  it  has  at  last  found  its  way  to  America. 


No.  1 1 — “Scene  in  the  Foot  Hills  of  the  Pyrenees.” 

20x27. 

This  scene  represents  Rosa  Bonheur  herself  riding  the 
bay  horse  and  dressed  in  her  accustomed  male  attire  of 
coat,  pants  and  vest  of  brown  velvet,  and  straw  hat.  Her 
close  friend,  Madame  Mecas,  is  by  her  side  on  the  grey 
horse.  The  scene  presented  is  a true  view  of  herself  and 
friend  as  there  shown  in  the  foot  hills  of  the  Pyrenees  in 
Spain.  She  seemed  to  be  attracted  by  the  mountain 
regions  of  Spain  and  Scotland,  where  many  of  her  finest 
picture  scenes  were  located.  This  is  a most  beautiful 
and  characteristic  example  of  the  art  of  this  greatest  of 
the  women  artists  of  the  world. 


BOULANGER  (Gustave  Rudolphe  Clarence)  . . Paris. 

Born  at  Paris,  April  28,  1824.  Died  in  1888. 

Best  known  for  his  historic  pictures. 

A pupil  of  Delaroche. 

Gained  the  Prix  de  Rome  in  1849,  and  studied  for 
seven  years  in  Italy. 

He  subsequently  visited  Algeria  and  painted  pastoral 
scenes,  but  returned  to  subjects  of  his  early  choice,  and 
became  famous  for  his  pictures  of  classic  history,  such 
as  “Lucretia  Spinning,”  “Lesbia  and  Her  Sparrow,”  and 
“Hercules  and  Omphale.”  Received  many  medals.  The 


INDEX  AND  BIOGRAPHICAL  NOTES. 


19 


Legion  of  Honor  was  also  conferred  in  1865.  His  travels 
in  Africa  furnished  material  for  several  very  prominent 
works,,  including  “Horsemen  of  the  Sahara,”  “Djeid  and 
Rahia,”  and  “Portrait  of  Hamdy-Bay”  (1865).  Some  of 
his  later  works  were  “Summer  Bath  at  Pompeii;”  “Roman 
Comedians  Rehearsing  Their  Parts”  (1876);  “St  Sebas- 
tian and  the  Emperor”  (1877);  “Repast  in  the  House  of 
Lucullus”  (1878);  “Slave  with  a Fan”  (1882),  and  many 
others. 

“Without  rivaling  the  wonderful  variety  of  Gerome,  M. 
Boulanger  has  great  affinities  with  him.  He  belongs  to 
the  group  of  refined  artists,  who,  after  1848,  created  the 
neo-Greek  fashion,  in  which  familiar  scenes  replaced  the 
great  tragic  subjects  of  the  Academical  School  of  David. 
His  experiences  in  Africa  have  given  another  direction  to 
his  talent,  but  here  again  he  may  be  classed  with  Gerome, 
in  the  series  of  traveled  painters,  whose  aim  it  is  to  re- 
produce the  types  and  customs  of  a race.  M.  Boulanger’s 
talent  is  more  delicate  than  powerful,  but  this  artist  will 
always  find  favor  with  public.” — Rene  Menard. 


No.  12 — “Daily  News  Reading  at  the  Barber  Shop  of 
Licinius.” 

46  5^x27  J4. 

On  the  right,  with  its  blue  shutters  raised  as  a pro- 
tection from  the  sun’s  rays,  stands  the  barber  shop  of 
Licinius.  Before  the  shop  and  in  the  foreground  a group 
of  men  are  listening  to  the  crier,  who  reads  from  the  scroll 
in  his  hand,  the  news  of  the  hour.  Upon  the  left,  two 
women,  attended  by  a black  slave,  stand  talking  to  a man 
seated.  In  the  left  distance  a man  grinding  a knife.  Still 
farther  in  the  distance  under  the  trees  stand  a yoke  of 
oxen.  Above  and  beyond,  the  roofs  of  the  marble  city 
can  be  seen.  One  of  the  finest  of  modern  paintings. 


20 


T.  B.  WALKER  COLLECTION. 


In  1774  Thomas  Gainsborough,  the  rival  of  Joshua  Rey- 
nolds, to  prove  the  inaccuracy  of  Reynolds’  statement 
that  blue  was  not  a proper  color  to  use  in  a great  painting, 
being  cold  and  unattractive,  painted  the  “Blue  Boy,”  which 
on  the  Continent  is  looked  upon  as  one  of  the  finest  of  all 
the  English  figure  pictures.  It  was  withdrawn  at  the  Dana 
sale,  and  now  commands  an  extraordinary  high  price. 
Boulanger,  in  line  with  this  idea  that  blue  colors  handled 
in  their  most  refined  and  harmonious  tints  would  procure 
a most  attractive  picture,  painted  this  “Barber  Shop  of 
Licinius.”  Many  of  the  best  judges  regard  this  as  Bou- 
langer’s most  beautiful  and  valuable  wTork,  and  a very 
great  success  as  an  almost  pure  picture  in  blue. 


No.  13 — “Pleasant  Hours  in  the  House  of  Lueullus.” 

4 <5^x2714. 

This  painting  is  mentioned  among  other  celebrated 
works  of  this  artist,  in  the  “Cyclopedia  of  Painters  and 
Painting”  (p.  190),  under  the  title  “Repast  in  the  House  of 
Lueullus.” 

Under  a yellow  canopy,  on  either  side  of  a well-spread 
table,  Lueullus  and  his  guests  recline.  In  the  center,  upon 
a Persian  rug,  a dancing  girl  is  tripping  to  the  music  of  a 
band  of  slaves  on  the  right.  In  the  distance  four  slaves 
are  carrying  in  upon  a table  the  next  course  in  the  rich 
banquet.  The  marble  building,  trees  and  shrubbery  form 
the  background. 

BOUGUEREAU  (William)  Adolphe  ....  France. 
Born  at  LaRochelle,  1825. 

In  1842  he  went  to  Paris  and  entered  the  studio  of  Picot, 
and  later  the  Ecole  des  Beaux-Arts,  where  his 
progress  was  rapid. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


21 


He  gained  the  Prix  de  Rome  in  1850,  and  then 
studied  in  Rome. 

Medals,  Paris,  1855  (Exposition  Universelle),  1857, 

1867  (Exposition  Universelle). 

Chevalier  of  the  Legion  of  Honor,  1859. 

Member  of  the  Institute  of  France,  1876. 

Officer  of  the  Legion  of  Honor,  1876. 

Medal  of  Honor  (Exposition  Universelle),  1878. 

Knight  of  the  Order  of  Leopold,  1881. 

Grand  Medal  of  Honor,  Paris,  1885. 

Medal  of  Honor,  Antwerp,  1885. 

“One  day  in  1842  or  thereabouts  a veritable  riot  sprung 
up  among  the  students  of  the  Alaux  Art  School  at  Bor- 
deaux. It  was  occasioned  by  the  award  of  the  prize  of 
the  year  to  a young  shop-keeper’s  clerk  from  LaRochelle, 
who  was  taking  daily  drawing  lessons  of  two  hours  each, 
which  his  employer  allowed  him  to  abstract  from  business. 
The  students  had  such  a contempt  for  the  young  shop- 
man that  they  resented  with  violence  the  fact  that  he 
should  win  the  honor  of  the  school.  But  Bouguereau  re- 
ceived the  prize  in  spite  of  their  protests,  and  it  decided 
his  career.  He  determined  to  become  an  artist.  His 
family  objected.  He  threw  up  his  employment  at  the 
shop,  and  went  penniless  to  live  with  his  uncle,  who  was 
a priest  at  Sintonge.  While  there,  by  painting  portraits 
of  the  townspeople  for  a few  francs  each,  out  of  his  earn- 
ings he  saved  900  francs,  on  which  he  proceeded  to  Paris, 
entered  the  studio  of  Picot,  and  secured  admission  to  the 
Ecole  des  Beaux  Arts  in  1843,  at  the  age  of  eighteen  years. 
He  lived  by  incredible  shifts,  finally  receiving  some  small 
assistance  from  his  family,  until,  in  1850,  he  won  the  Prix 
de  Rome.  For  four  years  he  was  a pensioner  and  student 
in  that  city,  and  he  returned  to  Paris  an  artist  competent 
to  the  execution  of  great  works.  Public  commission 


22 


T.  B.  WALKER  COLLECTION. 


and  private  patronage  soon  laid  the  foundation  of  his  for- 
tune. In  the  face  of  the  reaction  against  classicism,  he  re- 
mains a classicist,  but  his  technical  knowledge  is  so  pro- 
found, his  skill  so  masterly,  and  his  art  so  powerful  in 
its  intellectual  vitality,  that  he  is  able  to  hold  his  own 
against  the  strongest  rush  of  the  naturalistic  tide,  that 
would  sweep  feebler  men  before  it.  He  is  personally  an 
interesting  man,  with  a rigid  adherence  to  his  artistic  be- 
liefs, an  iron  resolution  and  indomitable  will.  One  of  the 
bitterest  critical  battles  of  our  time  has  been  fought  over 
him,  but  it  has  not  swerved  him  one  hair’s  breadth  from 
the  position  he  has  assumed,  and  has  rather  added  to  than 
imparted  his  name.” — Extracts  from  Notes  sur  les  Cent  Chefs- 
d’ Oeuvres,  by  M.  A.  Wolff. 


No.  Id— “April  Showers.” 

46*4x36. 

Two  young  peasant  girls,  having  been  overtaken  in  an 
open  field  by  a light  summer  shower,  have  seated  them- 
selves on  the  ground,  while  the  elder  girl  has  turned  her 
blue  skirt  up  over  her  head  and  that  of  her  companion,  as 
a means  of  protection  from  the  rain  drops.  From  beneath 
this  hastily  improvised  covering,  peer  out  faces  that  only 
this  artist  can  paint,  and  a pair  of  eyes  that  look  straight 
at  you  in  all  their  earnestness  and  reality. 

Dr.  Tuttle,  for  many  years  pastor  of  the  Church  of  the 
Redeemer,  says: 

“I  am  familiar  with  the  finest  paintings  in  the  great 
galleries  of  Europe.  I have  spent  many  hours  and  days 
in  looking  them  over.  I regard  this  picture  as  the  finest 
painting  I ever  saw.  I do  not  know  of  any  painting  of 
old  or  modern  masters  that  I regard  as  fine  and  beauti- 
ful as  this  one.” 


INDEX  AND  BIOGRAPHICAL  NOTES. 


23 


CARPENTIER  (Adrien). 

Portrait  Painter. 

Born  in  Switzerland.  Came  to  London  about  the  year 
1760,  and  settled  there  in  the  practice  of  his  profession. 
“In  1763,  he  was  a member  of  the  Free  Society  of  Artists, 
and  was  a constant  exhibitor  at  the  Spring  Gardens  Ex- 
hibitions. From  1770  to  1774  he  sent  portraits  and  portrait 
groups  to  the  Academy  Exhibitions.” 

— Redgrave's  Dictionary  of  Artists  of  the  English  School. 
“One  of  his  best  productions  was  a half-length'  portrait 
of  Roubiliac  the  sculptor,  from  which  there  are  two  en- 
gravings, one  in  mezzotinto  by  Martin  and  the  other  in 
line  by  Chambers.  He  died  about  1774.” 

— Pilkington’s  Dictionary  of  Painters. 


No.  15 — “Portrait  of  Mrs.  Hammond.” 

24x30. 

A fine  portrait  of  the  wife  of  a prominent  citizen  of 
London.  From  the  sale  of  the  household  effects  of  one 
of  the  descendants  of  the  family. 


CANO  (Alonso). 

Born  in  Granada,  March  19,  1601. 

Died  there  Oct.  3,  1667. 

“In  1637  Alonso  Cano  had  obtained  the  position  of  the 
first  artist  of  Seville.  Considered  as  a painter,  Alonso 
Cano  was  superior  to  many  of  his  rivals  in  drawing  and 
in  richness  and  in  variety  of  coloring,  and  his  compositions 
are  simple  and  pleasing.” — Painters  and  Their  Works. 

“He  was  a painter,  sculptor,  and  architect,  whence  some- 
times called  the  Spanish  Michelangelo.” 

— Cyclopedia  of  Painters  and  Paintings. 


24 


T.  B.  WALKER  COLLECTION. 


“An  eminent  Spanish  painter,  sculptor  and  archietct, 
who  has  been  called  the  ‘Michelangelo  of  Spain,’  for  his 
great  excellence  in  the  tree  sister  arts.  . . . He  after- 

wards studied  under  Juan  del  Castillo,  one  of  the  most 
eminent  painters  in  Spain,  and  executed  many  works  for 
the  public  places  of  Seville,  which  were  greatly  admired, 
and  were  considered  astonishing  performances  for  a stu- 
dent under  twenty  years  of  age.  ...  In  his  after  years 
he  produced  many  admirable  compositions.  His  works 
are  to  be  found  in  all  the  principal  churches  and  convents 
of  Cordova,  Madrid,  Granada,  Seville,  etc.  . . . There 

are  also  many  excellent  works  by  Cano  at  the  Imperial 
College  and  other  public  situations  at  Madrid,  which  rank 
him  among  the  greatest  Spanish  painters.” 

— Spooner’s  Dictionary  of  the  Fine  Arts. 

“This  celebrated  Spanish  artist  has  been  called,  with  some 
propriety,  the  ‘Michelangelo  of  Spain.’  He  distinguished 
himself  as  a painter,  sculptor  and  architect,  in  all  of  which 
branches  he  excelled,  and  it  is  easy  to  determine  in  which 
he  was  most  conspicuous.  . . . He  produced  many  ad- 

mirable compositions.  In  the  Church  of  Santa  Maria  at 
Madrid,  is  a celebrated  picture  by  him,  representing  a sub- 
ject from  the  life  of  S.  Isidoro;  a Saint  Francis,  in  Santia- 
go; and  in  San  Miguel,  two  pictures  of  S.  Caterina  and  San 
Joseph.  Many  other  excellent  works  by  this  painter  are 
to  be  seen  in  the  Imperial  College  and  other  public  situa- 
tions in  Madrid,  which  sufficiently  establish  his  fame  as 
one  of  the  greatest  painters  of  his  country.  The  numerous 
monuments  of  his  ability  as  a sculptor  and  an  architect 
are  not  noticed,  as  beyond  the  limit  of  this  publication.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“In  Mr.  Fuseli’s  opinion,  Cano  excelled  as  a painter,  with 
the  single  exception  of  Valasquez,  all  contemporaries, 
and  yet  seems  to  have  owed  his  superiority  entirely  to  na- 
ture. His  design  is  correct,  his  arrangement  happy,  and 
his  color  charming.  As  a sculptor,  he  gives  evident  proofs 


INDEX  AND  BIOGRAPHICAL  NOTES. 


25 


of  having  studied  the  antique,  by  the  dignity  of  his  forms, 
the  grandeur  of  his  drapery,  and  elegance  of  taste.” 

— Pilkington’s  Dictionary  of  Painters. 

“One  of  the  most  vigorous  of  the  Spanish  painters,  and 
also,  like  Michelangelo,  with  whom  he  is  usually  compared, 
an  architect  and  sculptor  of  great  merit.  He  has  left  in 
Spain  a very  great  number  of  specimens  of  his  genius, 
which  display  the  boldness  of  his  design,  the  facility  of 
his  pencil,  and  the  purity  of  his  flesh-tints  and  his  knowl- 
edge of  chiaro-scuro.” 

— Encyclopedia  Britannica. 


No.  16 — Mandonna  and  Child.” 

41x48. 

From  Manfrini  Collection  of  Venice. 

It  is  difficult  to  undertake  a description  of  this  splendid 
painting,  except  as  a whole,  as  the  figures  are  all  deli- 
cately proportioned,  the  color  arrangement  harmonious, 
and  the  whole  composition  most  pleasing. 

The  sweet,  simple  face  of  the  woman  shows  in  a pro- 
nounced manner  the  divine  and  worshipful  love  of  the 
mother,  but  the  great  strength  of  the  picture  centers  in 
the  infant.  The  form  and  flesh  tints  are  as  natural  as  life, 
besides,  the  infantile  helplessness  of  form,  the  childlike 
expression  of  the  intelligent  face,  the  sweet  mouth  and 
eyes,  make  up  one  of  the  most  successful  child  pictures 
of  any  of  the  great  masters. 


CAZIN  (Jean  Charles). 

Born  at  Samer,  in  Picardy. 

Pupil  of  Lecoq  de  Boisbandrau. 

Won  medals  at  Salon  in  1876,  1877  and  1880. 

Legion  of  Honor  in  1882. 

“M.  Jean  Charles  Cazin  is  one  of  the  most  original  and 


26 


T.  B.  WALKER  COLLECTION. 


fascinating  personalities  in  contemporary  French  art.  For 
this  man  painting  is  not  a mere  commerce,  but  an  inspira- 
tion. He  dominates  nature,  and  manifests  in  harmonious 
creations  the  enthusiasm,  the  passion,  the  melancholy,  the 
thousand  shades  of  joy  or  grief,  which  he  feels.” 

— Theodore  Child,  in  Harper’s  Magazine. 


No.  17 — “Fisherman’s  Home  on  the  Coast  of  Brit- 
tany.” 

31x24^2. 

This  scene  is  among  the  low  sand  dunes  that  skirt  the 
Brittany  coast.  The  dull  beach  grass  looks  gray  in  the 
deepening  twilight,  and  the  twinkling  stars  overhead  are 
brightening  in  the  evening  sky.  In  the  center  stands  the 
low-roofed  cottage,  and  on  the  right  a boat  lies  over- 
turned among  the  weeds.  From  the  window  of  the  cottage 
shines  the  ruddy  light  of  lamp  and  fire.  Far  away  over 
the  low  hills  the  steady  rays  of  the  distant  lighthouses 
may  be  seen. 


No.  18 — “The  Church  of  St.  Wolfran  at  Abbeville.” 

22x27. 

From  Sedelmeyer,  Paris. 

Abbeville  is  a city  of  France,  on  the  Somme  river,  12 
miles  from  its  mouth  in  the  English  Channel,  and  25  miles 
northwest  of  Amiens.  The  most  remarkable  edifice  is  the 
church  of  St.  Wolfran,  which  was  erected  in  the  time  of 
Louis  XII.  Although  the  original  design  was  not  com- 
pleted, enough  was  built  to  give  a good  idea  of  the  splen- 
did structure  it  was  intended  to  erect.  The  facade  is  a 
magnificent  specimen  of  the  flamboyant  Gothic  style,  and 


INDEX  AND  BIOGRAPHICAL  NOTES. 


27 


is  adorned  by  rich  tracery,  while  the  western  front  is 
flanked  by  two  Gothic  towers. 

No.  19 — “A  Normandy  Farm  Scene.” 

24x20. 

A hazy  evening  scene.  The  crops  on  the  right  har- 
vested, and  the  grain  in  the  shock.  The  fields  of  yellow 
grain  to  the  left  of  the  center,  and  to  the  right  of  the 
center  the  stacks  of  grain,  with  the  farm  house  and  build- 
ings still  farther  to  the  right.  The  sky  is  hazy,  and  with 
a misty  cloud  effect  that  in  a large  part  obscures  the  sun, 
and  makes  the  peculiar  impression  and  apparently  lone- 
some feeling  that  Cazin  brings  into  so  many  of  his  most 
attractive  pictures.  The  coloring  is  somewhat  weird,  but 
soft  and  harmonious. 


No.  20— “A  Farm  Scene.” 

19x16. 

Another  misty,  lonesome  evening  scene,  with  a clump  of 
trees  and  a stack  of  hay  to  the  right  of  the  center;  the 
pale,  bright  moon  throwing  a soft  light  over  the  level  land- 
scape, with  three  lonesome  clouds  floating  in  the  upper 
center  of  the  picture.  The  land  is  divided  into  garden 
patches  so  commonly  found  in  the  rich  valleys  of  France, 
where  each  proprietor  or  tenant  has  his  little  patch  of  a 
few  acres.  These  cultivators  live  in  the  small  villages  in 
the  neighborhoood,  sometimes  going  several  miles  to  do 
their  farming,  generally  living,  not  on  the  land,  but  at 
some  distance  in  the  little  cluster  of  houses  comprising 
the  village.  The  trees  and  vegetation  are  soft,  and  with 
the  peculiar  color  effects  produced  only  by  him.. 


28 


T.  B.  WALKER  COLLECTION. 


No.  21 — “The  Fisherman’s  Home.’’ 

26x34. 

This  picture  possesses  the  usual  qualities  of  Cazin  in 
which  he,  more  than  any  other  artist,  except  perhaps  Har- 
pignies  and  Millet,  bring  an  impression  or  scene  of  sad- 
ness and  lonesomeness  beyond  that  of  other  artists.  His 
paintings  have  come  to  be  highly  prized  and  high  in  price. 

A fisherman’s  cabin  on  the  sea  shore;  an  old-fashioned, 
long-armed  windmill;  the  housewife  carrying  a bundle 
of  hay  to  the  cow  or  goats;  some  fisherman’s  boats  out  on 
the  open  sea;  the  sky  as  well  as  the  land  and  sea  weirdly 
but  beautifully  colored,  makes  this  one  of  the  finest  ex- 
amples of  modern  art. 


No.  22 — “A  Pastoral  Scene  in  Brittany.” 

31x26. 

Another  characteristic  home  life  scene  among  the  peas- 
ant farmers  of  Brittany.  The  farmer,  with  his  pick  across 
his  shoulder,  calling  to  his  wife  who  is  sitting  on  the  grass 
with  a child  in  her  arms,  that  it  is  time  to  return  to  their 
little  home  that  is  beyond  the  church  with  its  tiled  roof 
and  belfry.  The  soft  foliage  of  the  grass,  the  shrubbery 
and  the  trees,  and  the  tinted,  soft  brown  gray  sky,  alto- 
gether making  up  one  of  the  finest,  softest  and  most  im- 
portant of  all  the  paintings  that  Cazin  has  ever  produced. 

CEDERSTROM  (Thure  von,  Baron). 

Born  at  Smaland,  Sweden,  1843. 

Pupil  of  Dusseldorf  Academy  and  Weimar  Art  School. 

Medal  at  London  in  1879. 

“Best  known  by  pictures  dealing  mostly  with  monks, 
in  the  fashion  of  Gurtzner  and  Vibert.” 

— Art  and  Artists  of  Our  Time. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


29 


No.  23 — “Monks  Preparing  Breakfast.” 

15x20. 

From  the  Geo.  I.  Seney  collection. 

The  good-natured  side  of  monastic  life.  Two  portly 
monks,  one  grinding  coffee,  the  other  on  his  knees  blow- 
ing the  fire.  Cheeks  distended  and  face  red  from  the  re- 
flection and  heat  of  the  coals,  he  forms  an  amusing  picture 
to  his  more  fortunate  companion,  who  looks  on  with  a 
good-natured  smile. 


CIPRIANI  (Gio  Battista). 

Born  at  Florence  in  1732. 

Died  in  1785. 

Was  one  of  the  first  members  of  the  Royal  Academy, 
founded  in  1768. 

“His  drawing  is  correct,  his  coloring  harmonious,  his 
heads  possess  grace  and  loveliness.” 

— Mrs.  Shedd’s  Famous  Painters  and  Paintings. 

“The  fertility  of  his  invention,  the  graces  of  his  com- 
position, and  the  seductive  elegance  of  his  forms  are  only 
surpassed  by  the  probity  of  his  character,  the  simplicity 
of  his  manners,  and  the  benevolence  of  his  heart.” 

— Fuseli.  Quoted  by  Mrs.  Shedd. 

“He  went  to  Rome  in  1750,  where  he  remained  a few 
years,  and  then  visited  England,  whither  his  reputation  had 
preceded  him.  At  this  period  the  engraver  Bartolozzi  was 
in  his  prime,  and  the  union  of  their  respective  talents  pro- 
duced many  works  of  rare  excellence. 

“His  forms  were  attractive  and  elegant,  his  composition 
graceful,  and  his  invention  abundant.” 

— Spooner’s  History  of  Fine  Arts. 

“This  celebrated  artist  is  justly  claimed  by  the  English 
school,  not  only  from  his  long  residence  in  London,  but 
from  his  education. 


30 


T.  B.  WALKER  COLLECTION. 


“Some  of  the  few  pictures  he  left  are  at  the  seat  of  Coke 
at  Holkham,  and  four  in  the  ceiling  of  the  library  of  the 
Royal  Academy .” — Pilkington’s  Dictionary  of  Artists. 

“His  art  is  to  be  found  in  his  drawings,  full  of  graceful 
invention  and  fancy;  his  females  exquisitely  elegant,  his 
children  unrivalled.  Fuseli  praises  his  invention,  his  grace- 
ful compositions  and  elegant  forms,  and  also  his  simple 
manners  and  unaffected  benevolence.  The  English  school 
is  indebted  to  him  for  the  improved  drawing  of  the  figure 
and  more  correct  taste.  He  painted  the  allegorical  designs 
on  the  panels  of  the  new  stage-coach  first  used  by  George 
III.  in  November,  1762,  and  still  used  by  our  sovereign. 
Designed  the  diploma  for  the  Royal  Academy  in  1768.” 

— Redgrave’s  Dictionary  of  Artists  of  the  English  School. 

No.  24 — “The  Assumption  of  the  Virgin.” 

32x24. 

This  painting  was  originally  intended  as  a design  for  the 
dome  of  some  large  cathedral.  In  the  center  is  the  Virgin 
Mary,  drifting  upward  through  the  clouds,  with  the  angels 
to  the  side  and  beneath.  The  light,  fleecy  raiment  in  which 
the  Virgin  is  clothed  is  soft  in  tone,  and  blends  off  with  the 
clouds.  On  the  right  sits  Peter,  drifting  off  in  a chariot, 
and  on  the  left  is  St.  John,  with  numerous  angels  in  the 
clouds  above  and  between  them  and  the  Virgin.  The  picture 
is  delicate  and  finely  drawn  and  colored,  and  very  soft  in 
tone.  Cipriani  painted  but  few  small  pictures.  This  one 
was  from  the  collection  of  Lord  Jersey,  formerly  one  of 
the  finest  private  galleries  in  Europe. 

CONSTABLE  (John). 

Born  at  East  Bergholt,  Suffolk,  June  11,  1776. 

Died  in  London,  March  30,  1837. 

Landscape  painter;  pupil  of  Royal  Academy  in  1779,  and 
later  of  Joseph  Farrington  and  R.  R.  Reinagle. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


31 


“While  there  are  many  landscape  painters  who  can  paint 
nature  in  her  tranquil  moods,  when  she  sits  motionless  as 
a model,  there  are  but  few  who,  like  Constable,  can  fix 
upon  canvas  the  coming  storm,  the  rising  wind,  and  the 
rapidly  changing  sunset.  In  treating  masses  of  clouds  driv- 
ing across  the  sky  or  brooding  over  the  tree  tops,  he  has 
no  rival.” — Cyclopedia  of  Painters  and  Paintings. 

“The  peculiar  merit  and  novelty  in  Constable’s  works 
cannot  be  expressed  better  than  in  the  words  used  by  Red- 
grave: ‘Landscape  painters  had  hitherto  usually  painted 

with  the  sun  at  their  backs,  to  the  right  or  to  the  left,  out 
of  a picture/  and  ‘many  had  painted  the  sun  in  the  picture 
gradually  sinking  in  the  low  horizon.  But  Constable  chose 
the  time  when  the  sun  was  high  in  the  heavens,  far  above, 
out  of  his  canvas,  but  still  in  front  of  him,  and  painted  al- 
most always  under  the  sun  and  much  that  is  peculiar  in  his 
art  arose  from  this  cause.’” — Painters  and  Their  Works. 


No.  25— “The  Lock.” 

27x40. 

From  an  old  English  Collection. 

A canal  boat  has  just  passed  the  lock,  and  is  bound  on  its 
way  up  the  canal.  The  lock  is  not  yet  entirely  closed. 
Just  beyond  in  the  shadow  of  some  splendid  trees  is  the 
home  of  the  lock  keeper.  Two  men  are  seen  fishing  from  a 
skiff  on  the  opposite  shore,  while  a boy  and  a girl  on  the 
tow  path  are  also  preparing  to  fish  from  the  shore.  A 
strong  wind  ruffles  the  water  in  the  canal,  and  sways  the 
trees  and  grasses  on  the  shore.  The  colors  are  strong  and 
harmonious  and  the  lights  and  shadows  extremely  fine  and 
striking.  One  of  the  finest  paintings  by  this  foremost  of 
the  English  landscape  painters. 


32 


T.  B.  WALKER  COLLECTION. 


COTES  (Francis). 

Born  in  London  in  1726,  died  there  July  20,  1770. 

Pupil  of  George  Knapton. 

“Became  eminent  as  a portrait  painter,  was  a member  of 
the  Society  of  Artists,  and  one  of  the  original  members  of 
the  Royal  Academy,  where  he  exhibited  from  1760  to 
1770.” — Cyclopedia  of  Painters  and  Painting. 

“He  was  the  son  of  the  mayor  of  Galway,  who,  on  some 
political  dispute,  came  to  settle  in  London  about  1720, 
and  practised  as  an  apothecary  in  Cork  Street,  Burlington 
Gardens.  Here  the  painter  was  born  in  1726,  and  com- 
menced the  study  of  art  as  the  pupil  of  George  Knapton. 
He  became  eminent  for  his  portraits  in  crayon  and  also 
painted  in  oil  with  much  ability. 

“He  painted  in  1767,  ‘Queen  Charlotte,  with  the  Princess 
Royal  on  her  lap/  a pleasing  portrait,  which  was  engraved 
by  Ryland.  He  was  in  considerable  practice  and  for  a 
time  had  so  great  a run  that  fashion  followed  him  from 
London  to  Bath  and  back  again.  He  drew  well,  sketched 
his  subject  freely  and  was  agreeable  in  his  coloring.” 

— Redgrave's  Dictionary  of  Artists  of  the  English  School. 

“He  was  particularly  eminent  for  his  portraits  in  cray- 
ons, in  which  branch  of  the  art  he  surpassed  all  his  prede- 
cessors. A fine  specimen  of  his  talent  is  now  in  the  council 
room  of  the  Royal  Academy,  close  to  the  portrait  of  Sir 
Joshua  Reynolds.  The  picture  in  question  is  a portrait 
of  old  Mr.  Robert  Cotes.  He  also  painted  with  consider- 
able ability  in  oil  colors;  and  at  one  time  Hogarth  de- 
clared him  to  be  superior  to  Sir  Joshua  Reynolds.  But 
though  the  pictures  of  Cotes  deserved  not  this  high  charac- 
ter, they  were  very  pleasing,  wrell  finished,  colored  with 
great  spirit,  and  by  the  aid  of  Mr.  Toms’  draperies,  were 
justly  ranked  with  some  of  the  best  of  that  day.” 

— Pilkington’s  Dictionary  of  Painters. 

“Lord  Oxford  mentions  several  of  his  crayon  sketches, 


INDEX  AND  BIOGRAPHICAL  NOTES. 


33 


and  says  he  excelled  Rosalba  in  vivacity  and  invention, 
though  inferior  to  her  in  softness  and  harmony.” 

— Spooner’s  History  of  the  Fine  Arts. 


No.  26 — “Portrait  of  Lady  Burdette.” 

26x22. 

From  the  collection  of  Sir  F.  W.  Burton. 

A very  refined  portrait  of  a prominent  lady  and  as  beauti- 
fully painted  as  though  done  by  Sir  Joshua  Reynolds  and 
considerably  after  the  manner  of  his  coloring  and  finish. 


CROCHEPIERRE  (Andre  Antoine). 

Mention  honorable  Paris  Salon  1886  and  1887. 


No.27 — “Peasant  Women  at  Prayer.” 

22x32. 

Kneeling  on  a low  chair,  her  arms  resting  upon  its 
high  back,  her  white  beads  in  her  hands,  this  old  woman 
looks  before  her  with  a sweet,  complacent  smile.  Over 
her  shoulders  is  drawn  a red  woolen  shawl  of  that  warm, 
bright  tint,  in  which  Vibert  so  often  dresses  his  subjects. 
Her  dress  of  black  homespun  falls  in  heavy  folds  about 
her,  and  her  head  is  enveloped  in  a white  kerchief,  bound 
turban  fashion  about  it.  This  painting  shows  in  a marked 
degree  the  artist’s  excelling  powers  in  fine  flesh  technique. 
His  drawing  of  hands  is  unequalled,  and  his  depiction  of 
the  wrinkled  faces  of  age  is  unexcelled. 


34 


T.  B.  WALKER  COLLECTION. 


COROT  (Jean  Baptiste  Camille) France. 

Born  at  Paris,  1796.  Died  1875. 

Pupil  of  Michallon  and  Victor  Bertin. 

Completed  his  studies  in  Italy. 

Medals,  1833,  1848,  1855. 

Legion  of  Honor,  1846. 

Officer,  1857. 

“In  originality  of  mind  and  force,  purity  and  individu- 
ality of  aim  and  character,  he  seems  to  be  the  most  con- 
siderable figure  that  has  appeared  in  the  art  world  of 
France  during  the  century.” — L.  G.  W.  Benjamin. 

“Corot  stands  apart.  Critics  call  him  a master.  He  is 
no  profuse  colorist.  Browns,  pale  greens,  and  silver  grays, 
with  an  occasional  shade  of  purple,  or  a bright  spot  of 
intenser  color,  to  represent  flowers  or  drapery,  are  his  re- 
liance.”— Jarvis’  Art  Thoughts. 


No.  28 — “View  of  Rome  in  1834.“ 

39 14x29. 

Taken  from  the  entrance  of  the  Catacombs,  it  shows 
on  the  extreme  right  a portion  of  the  Colosseum.  On  the 
left,  two  tall  trees,  whose  close,  clustering  boughs  reach 
the  upper  corner  of  the  canvas.  To  the  right  of  these  the 
Arch  of  Trajan  can  be  seen,  over  the  foliage  that  covers 
the  rocks.  Beyond  this  is  the  city  itself.  This  painting 
passed  through  the  private  galleries  of  Mr.  Hirsch  and 
Count  Kraszowszk,  of  Paris.  Dated  1830. 

No.  29 — “Dance  of  the  Nymphs.’’ 

28x19. 

This  picture  is  well  known  to  those  familiar  with  the 
work  of  this  artist  at  his  earlier  period.  Under  the  soft 
green  of  a summer  forest,  in  wild  sport,  the  Nymphs 


INDEX  AND  BIOGRAPHICAL  NOTES, 


35 


dance  over  the  sward  and  among  the  flowers.  The  scene 
is  beautiful  in  the  delicate  lights  and  fine  soft  colors  that 
compose  it. 

From  the  second  Seney  Collection.  Painted  for  his 
family  physician,  Dr.  Simoni,  and  sold  by  him  to  Leroy 
& Co.,  of  Paris. 


No.  30 — “Landscape.” 

18x12*4 

In  the  foreground  a small  lake,  brightly  illuminated  by 
the  last  rays  of  the  setting  sum,  and  surrounded  by  fine 
trees.  Under  one  of  these  trees,  on  the  edge  of  the  lake, 
a young  girl  is  sitting.  In  the  distance  one  sees  a view  of 
a town  and  a church  steeple.  This  picture  was  painted 
about  the  time  of  Corot’s  residence  at  Barbazon,  and  the 
steeple  seen  in  the  distance  is,  in  all  probability,  that  of  the 
church  of  the  Angelus. 

A picture  which  charms  by  its  delightful  harmony  of 
tone  and  beautiful  coloring. 

No.  31 — “Landscape  with  Figures  and  Cattle.” 

18x12*4 

Another  of  Corot’s  beautiful  transcripts  of  nature.  In 
the  foreground  is  a pond,  at  which  a cow  is  drinking. 
The  spot  js  overshadowed  by  some  fine  trees,  under 
which  a couple  of  female  figures  are  seen.  In  the  distant 
fields  some  cattle  are  grazing.  The  gray  sky  is  full  of 
light  that  pervades  the  foliage  and  the  trees. 

No.  32 — “A  Landscape  Scene.” 

23x31. 

From  the  collection  of  John  Taylor  Johnson,  of 
Philadelphia. 

One  of  the  most  attractive  and  beautiful  private  col- 


36 


T.  B.  WALKER  COLLECTION. 


lections  in  this  country.  Imported  by  Knoedler  & Co., 
about  1875.  Characterized  by  Samuel  Avery,  of  New  York 
City,  as  the  most  attractive  example  of  Corot  that  he  has 
ever  seen.  A characteristic  painting  by  this  most  refined 
of  all  the  Barbazon  painters.  Representing  a pastoral 
scene,  with  peasants  in  the  center  ground,  with  a long  dis- 
tance out  over  a bay,  with  the  beautiful,  poetic  trees,  and 
the  soft  gray  coloring  so  characteristic  of  this  painter. 

No.  33 — “Aurora  Greeting  the  Dawn  of  Day.” 

34^x43. 

From  Baron  de  Beurnonville  Collection,  Paris. 

One  of  Corot’s  most  important  and  beautiful  paint- 
ings. Showing  the  graceful  figure  of  Aurora  or  Eos,  the 
goddess  of  light  and  of  the  day,  preparing  to  welcome  the 
early  dawn. 

The  soft  light  of  morning  is  coming  from  the  eastern 
sky  across  the  poetic  landscape  from  beyond  the  portico 
of  the  temple  seen  in  the  distance.  No  finer,  more  grace- 
ful or  poetic  landscape  has  been  portrayed  by  any  ancient 
or  modern  master. 

No.  34— “A  Lake  in  the  Woods.” 

10x14. 

Beneath  the  shady  boughs  of  the  spreading  elms,  we 
get  a glimpse  of  a crystal  lake,  surrounded  by  wooded 
meadows  and  grassy  slopes.  From  a little  brook  which 
empties  its  sparkling  waters  into  the  lake,  some  cows  are 
drinking,  while  one  stands  in  the  deeper  water  of  the  lake 
just  beyond.  About  them  are  more  of  Corot’s  beautiful 
trees. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


37 


CUYP  (Albert). 

“Born  at  Dordrecht  in  Oct.,  1620,  died  there,  buried 
Nov.  6,  1691.  Dutch  school,  landscape,  animal  and  marine 
painter;  son  and  pupil  of  Jacob  Gerritsz  Cuyp.” 

— Cyclopedia  of  Painters  and  Paintings. 

“He  acquired  the  chaste  and  exquisite  style,  for  which 
he  is  so  particularly  admired,  by  a close  and  vigilant  at- 
tention to  nature,  under  all  the  vicissitudes  of  atmosphere 
and  season.  His  pictures  frequently  represent  the  borders 
of  the  Maes  river,  with  shepherds  and  herdsmen  attending 
their  cattle.  These  subjects  he  has  treated  with  an  en- 
chanting simplicity,  that  may  be  truly  said  to  be  peculiar 
to  him. 

“It  is  not,  perhaps,  giving  him  more  merit  than  is  due 
him,  to  assert  that  no  painter  had  surpassed  him  in  the 
purity  of  his  aerial  tint.  Tuned  to  the  harmony  of  color, 
like  the  ear  of  the  musician  to  sound,  his  eye  appears  to 
have  been  incapable  of  a discordant  tone;  every  object  is 
enveloped  in  the  air  of  the  moment  he  wished  to  describe. 

“His  pencil  is  uncommonly  broad  and  facile,  with  an 
unusual  plumpness  of  touch,  and  a crispness  of  surface 
which  is  peculiar  to  him,  if  we  except  the  works  of  Rem- 
brandt, to  which  those  of  Cuyp  bear  some  analogy  in  the 
richness  of  color  and  the  intelligence  of  light  and  shadow.” 
— Bryan's  Dictionary  of  Painters  and  Engravers. 

“There  is  a poetry  of  effect,  an  eternity  of  distance  in 
his  pictures,  which  no  Dutchman  ever  expressed  in  a 
similar  way.  His  landscapes  sparkle  with  silvery  sheen  at 
early  morning,  they  are  bathed  in  warm  or  sultry  haze  at 
noon,  or  glow  with  heat  at  eventide.  Under  all  circum- 
stances they  have  a peculiar  tinge  of  auburn  which  is 
Cuyp’s  and  Cuyp’s  alone. 

“He  shows  great  cleverness  in  throwing  pale  yellow 
clouds  against  clear  blue  skies,  and  merging  yellow  mists 
into  live  green  vegetation.  He  is  also  very  artful  in  vary- 


38 


T.  B.  WALKER  COLLECTION. 


ing  light  and  shade  according  to  distance,  either  by  inter- 
change of  cloud-shadow  and  sun-gleam  or  by  gradation 
of  tints.  His  horses  and  cattle  are  admirably  drawn  and 
they  relieve  each  other  quite  as  well  if  contrasted  in  black 
and  white  and  black  and  red,  or  varied  in  subtler  shades 
of  red  and  brown.  Rich  weed-growth  is  expressed  by  light 
but  narrowy  touch,  suggestive  of  detail  as  well  as  of 
general  form.  The  human  figure  is  given  with  homely 
realism  in  most  cases,  but  frequently  with  a charming 
elevation,  when,  as  often  occurs,  the  persons  represented 
are  meant  to  be  portraits.  Whatever  the  theme  may  be,  it 
remains  impressed  with  the  character  and  individuality  of 
Cuyp. 

“At  the  sale  of  the  Clewer  collection  at  Christie’s  in 
1876,  a small  ‘Hilly  Landscape  in  Morning  Light’  was  sold 
for  £5,040,  and  a ‘View  of  the  Rhine,’  with  cows  on  a bank, 
for  £3,150.  Smith  has  catalogued  335  of  Cuyp’s  works. 

— The  Encyclopedia  Britannica. 

“He  is  deservedly  held  in  very  high  esteem  for  his 
peculair  qualities.  In  the  treatment  of  atmospheric,  effects, 
whether  of  morning,  noontide  or  sunset,  Cuyp  has  no 
rival  save  Claude,  whom  he  even  surpasses  in  his  power 
of  diffusing  a glow  of  light  throughout  the  limits  of  a 
canvas.” — Cyclopedia  of  Painters  and  Paintings. 

“His  best  works  are  in  England.  In  the  National  Gal- 
lery there  are  no  less  than  eight  pictures  by  him;  of  these 
the  Landscape  with  cattle  and  figures  (Eng.  106)  is  the 
principal.  English  private  galleries  are  rich  in  his  pro- 
ductions.”— D’Anvers’  Elementary  History  of  Art. 

No.  35 — “Shepherds  in  the  Valley  of  the  Maas.” 

44x54. 

From  the  Collection  of  Viscount  Oxenbridge. 

Burton  Hall,  Lincoln,  England. 

It  represents  one  of  this  great  master’s  most  brilliant 


INDEX  AND  BIOGRAPHICAL  NOTES. 


39 


and  beautiful  landscapes,  with  cattle  and  shepherd  by  the 
walls  of  an  old  building.  The  cattle  are  quietly  reposing 
in  the  foreground,  with  the  shepherd  listlessly  watch- 
ing and  waiting.  The  air  is  soft,  warm  and  pleasant,  and 
the  whole  picture  full  of  harmony  of  coloring  and  one  of 
the  most  beautiful  and  refined  in  tone  to  be  found  amongst 
the  old  masters  of  landscape  painting. 


DEVE  (E.). 

Born  at  Vienna  and  studied  in  Academy  under  Lotz. 


No.  36 — “Evening  in  Italy.” 

40x28 J/2. 

A quiet  bend  of  a stream,  its  banks  overshadowed  by 
fine  tall,  stately  trees.  The  rays  of  the  setting  sun  are 
brightly  reflected  upon  the  surface  of  the  water,  and  illu- 
minate the  distant  hills.  In  the  shallow  water  near  the 
left  bank,  are  two  bathers.  A soft,  warm,  richly  colored 
landscape. 


DEMONT-BRETON  (Mme.  Virginie  Elodie).  France. 
Born  at  Courrieres. 

Pupil  of  her  father,  Jules  Breton. 

Medals  third  class,  1881;  second  class,  1883. 

Hors  Concours. 

Member  of  the  Society  of  French  Artists. 


40 


T.  B.  WALKER  COLLECTION. 


No.  37— -‘‘Her  Man  is  on  the  Sea.” 

52x6224. 

“Three  fishers  went  sailing  away  to  the  West, 

Away  to  the  West  as  the  sun  went  down; 

Each  thought  of  the  woman  who  loved  him  the  best, 

And  the  children  stood  watching  them  out  of  the  town; 
For  men  must  work  and  women  must  weep, 

And  there’s  little  to  earn  and  many  to  keep, 

Though  the  harbor  bar  be  moaning.” 

This  is  one  of  the  largest  pictures  in  Mr.  Walker’s  col- 
lection. It  represents  a peasant  woman,  the  wife  of  a 
sailor,  sitting  near  a rude  fireplace  with  a babe  in  her  lap. 
Apparently  she  has  just  been  warming  the  little  fellow’s 
feet  prior  to  putting  him  to  bed.  The  child  is  sleeping 
and  his  legs  and  feet  are  exposed  to  the  fire,  which  throws 
a bright  reflection  on  them.  His  mother’s  head  has 
dropped  half  to  one  side  and  is  resting  against  the  wall 
back  of  her  chair.  The  eyelids  are  half  closed,  indicating 
that  she,  too,  is  just  upon  the  point  of  falling  asleep.  The 
great  strength  of  the  picture  is  in  the  expression  of  the 
mother’s  face.  It  is  one  of  utter  weariness  in  the  waiting 
and  watching,  mingled  with  anxiety  and  sadness.  She  has 
been  thinking  and  wondering  as  to  her  husband’s  safety, 
and  at  last  has  yielded  to  the  influences  of  tired  nature. 

The  coloring  is  subdued  but  very  effective.  The  treat- 
ment harmonious,  and  while  there  are  no  strikingly 
arranged  highlights  and  no  conspicious  marshaling  of 
catchy  characteristics,  yet  there  is  so  much  of  fine  draw- 
ing, so  much  of  rare  color — joined  to  the  tender  sentiment 
in  the  piece — that  one  finds  it  hard  to  leave  the  patient, 
saddened  face. 


DE  BRUSH(  C.  F.). 


INDEX  AND  BIOGRAPHICAL  NOTES. 


41 


No.  38 — “A  Celtic  Huntress.” 

17x22. 

Three-quarter  figure  of  a young  girl  standing  erect  and 
looking  at  the  spectator.  In  her  hand  she  holds  an  arrow. 
By  her  side  is  seen  the  head  of  a handsome  hound,  which 
she  is  caressing. 

DIAZ  DE  LA  PENA  (Narcisse  Virgile).  . . . Paris. 

Born  at  Bordeaux  August  21,  1808. 

Died  November  18,  1876. 

Genre  and  landscape  painter. 

A romantically  picturesque  figure  in  art  is  that  of  Diaz. 
Born  in  1808  at  Bordeaux,  of  Spanish  parentage  who  had 
been  banished  from  their  native  country  on  account  of 
political  troubles.  At  ten  years  of  age  Diaz  was  left  an 
orphan,  and  at  fifteen  he  was  apprenticed  to  a maker  of 
porcelain,  where  his  talent  first  displayed  itself.  He 
quarreled  with  and  left  his  master,  and  subsequently  spent 
several  years  in  most  bitter  poverty.  After  his  ability  as 
a most  wonderful  colorist  had  been  recognized,  Diaz  paint- 
ed and  sold  many  pictures,  endeavoring  by  the  accumula- 
tion of  a fortune  to  avenge  the  poverty  of  his  youth.  He 
died  at  Paris  from  the  sting  of  a viper  in  1876.  Medals  in 
1844,  1846  and  1848.  Legion  of  Honor,  1851.  Diploma  to 
the  memory  of  Deceased  Artists,  Exposition  Universelle, 
1878. 

No.  39 — “Flora.” 

14y2xl03A. 

A very  graceful  female  figure  with  flowing  hair  and  airy 
costume  of  dark  blue  is  standing  in  a wooded  glade,  bear- 
ing on  her  arm  a basket  of  flowers,  and  accompanied  by 
two  persuasive  cupids.  The  pose  of  the  figure  is  very 


42 


T.  B.  WALKER  COLLECTION. 


graceful,  while  the  soft,  warm  flesh  tints,  and  the  manage- 
ment of  the  foliage  and  clouds  forming  the  background 
show  both  a masterly  knowledge  and  a refined  sense  of 
beauty.  Diaz’s  pictures  show  him  to  have  been  a colorist 
of  the  most  brilliant  splendor. 

From  Sedelmeyer,  Paris. 

DIETERLE  (Mme.  Marie). 

Born  at  Sevres,  France. 

Landscape  painter. 

Daughter  and  pupil  of  E.  Van  Marcke. 

Her  paintings  are  as  soft  and  attractive  and  at  the  same 
time  as  beautifully  painted  as  those  of  her  father.  In  fact, 
her  works  are  more  sought  after  than  any  other  lady  artist. 

No.  40 — “Going  Home  From  the  Pasture.” 

21x27. 

As  the  shadows  of  the  evening  deepen  the  old  lady 
drives  the  cows  home  from  wooded  pasture.  Those  in  the 
lead  seem  to  hesitate  as  though  we  stood  in  the  way,  and 
only  a few  more  steps  would  bring  them  through  the 
frame  and  off  the  canvas.  The  picture  resembles  very 
much  the  work  of  her  illustrious  father,  Emil  Van  Marke. 


DOLCI  (Carlo). 

Born  in  Florence,  May  25,  1616. 

Died  there  January  17,  1686. 

Florentine  School;  studied  with  Jacopo  Vignali. 

“Charles  Blanc  calls  him  the  true  representative  of  Jesu- 
itical art.  The  tone  of  his  coloring  is  generally  adapted 
to  the  character  of  his  subjects,  being  always  soft  and 
harmonious.  Some  of  his  female  figures  are  better  than 
any  of  his  male  subjects.  He  was  the  last  of  the  Floren- 


INDEX  AND  BIOGRAPHICAL  NOTES. 


43 


tine  school,  as  well  in  style  and  taste  as  in  point  of  time.” 
— Cyclopedia  of  Painters  and  Paintings. 

“Pie  painted  pleasing  and  highly  finished  pictures,  chief- 
ly confined  to  devout  subjects  and  most  frequently  repre- 
senting heads  of  our  Saviour  and  of  the  Virgin.  These 
are  not  so  much  admired  for  the  particular  beauty  of 
character,  as  for  soft  and  tranquil  expression  of  devotion 
in  the  patient  suffering  of  Christ,  the  plaintive  sorrow  of 
Mater  Dolorosa,  or  the  compunction  of  a saint  in  penitence. 
Subjects  of  that  description  he  has  treated  with  great 
delicacy  and  tenderness.  The  general  tone  of  his  coloring 
is  well  appropriated  to  the  character  of  his  subjects,  noth- 
ing is  harsh  or  obtrusive;  all  is  modest,  placid  and  har- 
monious. He  generally  painted  in  a small  size,  though 
there  are  some  pictures  by  him  as  large  as  life  at  Florence, 
of  which  the  principle  are,  the  St.  Anthony,  in  the  Floren- 
tine gallery;  the  Conception,  in  the  collection  of  the 
Marchesi  Riccardi;  and  the  St.  Sebastian,  in  the  Corsini 
palace.  There  is  a fine  picture  of  Christ  breaking  the 
Bread,  in  the  collection  of  the  Marquis  of  Exeter,  at  Bur- 
leigh. His  small  pictures  of  heads  of  the  Madonna  are 
numerous,  and  are  highly  valued  by  the  admirers  of  pol- 
ished and  laborious  finishing.  There  are  many  of  his 
pictures  in  England,  besides  that  at  Burleigh,  and  they  ob- 
tain very  high  prices  in  public  sales.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“He  was  particularly  fond  of  painting  sacred  subjects, 
and  his  works  are  easily  distinguished,  not  so  much  by  any 
superiority  to  other  great  artists  in  design  or  force,  as  by 
delicacy  with  which  he  perfected  all  his  compositions  by  a 
pleasing  tint  of  color,  improved  by  a judicious  management 
of  a chiaro-oscuro  which  gave  his  figures  a surprising  re- 
lief, by  the  graceful  air  of  his  heads,  and  a general  har- 
mony, accompanied  with  exquisite  finishing.  His  pencil 
was  tender,  his  touch  inexpressibly  neat,  and  his  coloring 


44 


T.  B.  WALKER  COLLECTION. 


transparent,  though  he  has  often  been  censured  for  the  ex- 
cessive labor  bestowed  on  his  pictures.” 

— Pilkington’s  Dictionary  of  Painters. 

“His  works  were  distinguished  for  their  appropriate 
composition  and  expression,  for  their  pleasing  coloring, 
improved  by  a judicious  management  of  the  chiaro-scuro, 
which  gives  his  figures  a surprising  relief,  for  the  graceful 
air  of  his  heads,  and  for  their  general  harmony  and  ex- 
quisite finishing.  The  soft  and  tranquil  expression  of 
resignation  or  devotion  in  the  patient  sufferings  of  Christ, 
the  plaintive  sorrow  of  the  Mater  Dolorosa,  the  com- 
punctious visitings  of  conscience  in  his  Magdalens,  are  all 
treated  with  great  delicacy  and  tenderness.  His  pencil 
was  delicate,  his  touch  inexpressibly  neat,  his  coloring 
transparent.  He  has  been  censured  for  bestowing  im- 
mense labor  on  his  works,  and  for  giving  his  carnations 
more  of  the  appearance  of  ivory  than  of  flesh.  In  his 
manner  of  working  he  was  remarkably  slow,  and  it  is  re- 
ported of  him  that  his  brain  was  affected  on  seeing  Luca 
Giordano  despatch  more  work  in  four  or  five  hours  than  he 
could  have  done  in  so  many  months.  He  generally  painted 
in  small  size,  though  he  executed  some  works  of  the  size 
of  life.” — Spooner's  History  of  the  Fine  Arts. 


No.  41 — “The  Light  of  the  World” 

14^x1614. 

From  Collection  of  J.  Goddard,  Esq.,  North  Hampstead. 

In  the  center  of  the  picture,  apparently  standing  out 
from  the  canvas,  as  a bas  relief,  is  the  infant  Jesus  and  His 
mother.  The  hands  and  face  of  the  latter — although  some 
270  years  have  intervened  since  the  painter’s  brush  modeled 
them — have  the  appearance  of  ivory,  while  the  expression 
of  loving  veneration  has  probably  never  been  excelled. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


45 


The  figure  of  the  Child,  although  small,  is  -not  only- 
beautiful  but  extremely  natural  in  flesh  tint  and  figure. 

Practically  all  the  light  within  the  modest  stable  seems 
to  radiate  from  the  lowly  cot  of  the  Divine  Infant— the  re- 
flections bringing  dimly  to  view  the  outlines  of  the  build- 
ing and  the  gentle  cow  reposing  upon  the  stable  floor. 

The  painting  shows  not  only  the  patient  work  of  the 
master,  but  a veneration  almost  equal  to  worship  in  its 
production. 

DOBSON  (William). 

Born  at  Holborn  in  1610. 

Died  in  London  October  28,  1646 

“After  Vandyck’s  death,  Dobson  became  sergeant-paint- 
er and  groom  of  the  privy  chamber.  He  painted  Charles  I, 
Charles  II,  Prince  Rupert,  and  many  other  notable  per- 
sonages.”— Cyclopedia  of  Painters  and  Paintings. 

“Sir  Joshua  Reynolds  speaks  of  him  as  one  of  the  great- 
est artists  England  has  produced.  His  touch  was  bold  and 
free,  his  coloring  warm  and  harmonious,  and,  though  in- 
ferior to  Vandyck  in  the  gracefulness  of  his  figures,  yet 
he  gave  a life,  dignity  and  truth  to  his  portraits  which  has 
seldom  been  surpassed.  His  works  are  highly  esteemed, 
and  are  to  be  found  only  in  the  big  galleries  and  the  col- 
lections of  the  nobility  of  England.  Specimens  can  be  seen 
in  the  superb  galleries  at  Wilton,  Relvoir,  Chatsworth, 
Blenheim,  Stowe,  Windsor,  Chiswick,  Devonshire  House, 
Castle  Donnington,  Althorpe,  etc.” 

— Spooner’s  History  of  Fine  Arts. 

“Vandyck,  passing  a shop  on  Snowhill,  perceived  a pic- 
ture exposed  for  sale  in  the  window  which  had  sufficient 
merit  to  excite  his  curiosity  to  discover  the  painter,  whom 
he  found  at  work  in  a miserable  garret.  The  well  known 
liberality  of  Vandyck  soon  relieved  him  from  his  wretched 


T.  B.  WALKER  COLLECTION. 


16 

situation;  he  afterwards  introduced  him  to  the  king,  and 
zealously  recommended  him  to  his  Majesty's  protection. 
On  the  death  of  Vandyck,  Dobson  was  appointed  sergeant- 
painter  to  the  king,  whom  he  accompanied  to  Oxford, 
where  he  painted  his  portrait,  that  of  Prince  Rupert  and 
several  of  the  nobility. 

“Of  the  painters  of  his  time,  Dobson  appears  to  have  ap- 
proached nearest  to  the  excellent  Vandyck.  His  portraits 
are  faithful  transcripts  of  nature,  and  although  he  was  not 
equally  successful  in  his  historical  pictures,  the  few  of  them 
that  he  painted  are  not  without  considerable  merit.  One 
of  his  best  works  in  history  is  the  ‘Decollation  of  St.John,’ 
at  Wilton.  Several  portraits  by  Dobson  are  in  the  Nor- 
thumberland House,  at  Chatsworth,  in  Devonshire  House, 
and  other  mansions  of  nobility.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“Charles  I distinguished  him  by  the  name  of  the  English 
Tintoret.  While  at  Oxford,  he  also  painted  the  portraits 
of  the  Prince  of  Wales,  Prince  Rupert,  and  many  of  the 
nobility. 

“He  was  certainly  one  of  the  most  eminent  painters  of 
his  time,  and  an  equal  honor  to  the  art  and  to  his  native 
country.  His  manner  is  bold  and  free  and  has  an  abun- 
dance of  sweetness  with  a charming  tone  of  color;  and 
though  inferior  to  Vandyck  in  the  gracefulness  of  his 
figures,  yet  he  gave  life,  dignity,  and  sentiment  to  his  por- 
traits; and  for  truth,  character  and  resemblance  few  have 
surpassed  him.” — Pilkington’s  Dictionary  of  Painters. 

“The  portraits  by  him  are  warmer  in  color  than  those  by 
Vandyck,  but  they  are  life-like,  and,  it  is  said,  were  capital 
likenesses.” — Painters  and  Their  Works. 

No.  42— “Admiral  Robert  Blake.” 

23^x27. 

Celebrated  3ritish  Admiral,  born  at  Bridgewater  in 


INDEX  AND  BIOGRAPHICAL  NOTES. 


47 


Somersetshire,  about  1599.  Educated  at  Oxford,  he  was 
elected  to  Parliament  in  1640;  was  appointed  “General  of 
the  Sea”  in  1649,  and  after  many  victories  he  resigned  about 
1654,  and  became  a member  of  the  first  two  parliaments 
summoned  by  Cromwell.  In  1656  he  destroyed  the  Span- 
ish fleet  at  Cadiz.  He  is  considered  as  the  founder  of  the 
naval  supremacy  of  England.  He  died  about  1657. 

The  features  are  clearly  defined,  the  coloring  true  to 
nature,  and  the  whole  delicately  finished. 

No.  43— “The  Earl  of  Pembroke.” 

24  >2x29. 

From  the  S.  T.  Smith  Collection. 

(Mr.  Smith  is  the  author  of  Catalogue  Raisonne). 

William  Herbert,  Earl  of  Pembroke.  Born  at  Wilton, 
England,  in  1580.  Was  Lord  Steward  of  the  king’s  house- 
hold about  1626.  He  is  supposed  to  be  the  person  to  whom 
Shakespeare’s  sonnets  were  addressed.  Pembroke  College 
was  named  in  honor  of  him.  He  died  in  1630. 

While  the  colorings  are  warm  and  modest,  yet  the  out- 
lines are  clear  and  distinct;  and  the  life,  dignity  and  grace 
given  to  form  and  feature,  indicate  this  one  of  the  best 
productions  of  one  of  England’s  greatest  painters. 

No.  44 — “Earl  of  Winchester.” 

25x30. 

Charles  Paulet,  son  of  John  Paulet,  Fifth  Marquis  of 
Winchester.  Charles  became  the  Sixth  Marquis  upon  the 
death  of  his  father  in  1674,  but  being  then  about  seventy 
years  of  age  he  died  in  1689.  The  portrait  was  painted 
while  he  was  Earl,  likely  between  1641  and  1645,  as  Dob- 
son was  appointed  Court  Painter  upon  the  death  of  Van 
Dyck  in  1641.  A very  lifelike  portrait,  in  the  usual  soft 
colors  of  this  noted  portrait  painter. 


48 


T.  B.  WALKER  COLLECTION. 


DUPRE  (Jules)  France 

Born  at  Nantes  in  1812. 

Landscape  painter.  One  of  the  most  original  and  power- 
ful of  the  modern  French  or  Barbizon 
School  of  Painters. 

“That  he  carries  love  of  nature  to  exaltation,  he,  equally 
with  Corot,  depicts  in  landscape  what  he  has  felt  as  well 
as  what  he  has  seen.  . . . Under  his  feeling  all  parts  of  a 

scene  are  softened  into  a harmonious  whole,  and  exactness 
of  detail  is  subordinated  to  the  interpretation  of  impres- 
sion. Nevertheless,  he  accepts  nature  on  her  own  con- 
ditions in  the  main,  and,  like  Constable,  whose  methods 
formed  his  most  important  instruction,  in  securing  the 
reality  he  secures  the  charm.” 

— A History  of  French  Painting,  by  C.  H.  Stranahan. 


No.  45 — “A  Summer  Idyl.” 

7x9. 

In  this  little  gem,  the  artist  presents  a shady  pasture, 
with  cattle  lazily  feeding,  while  others  are  slaking  their 
thirst  at  the  running  brook. 

Although  the  design  is  small,  yet  every  detail  is  perfect. 

The  trees,  the  grazing  herd,  the  crystal  waters,  and  the 
delicate  tints  of  cloud  and  sky,  make  of  this  a fine  example 
of  Dupre’s  smaller  paintings. 


No.  46— “The  Coast  of  Brittany.” 

19x23. 

On  the  right,  one  huge  precipitous  rock  stands  like  a 
sentinel  on  the  long  stretch  of  sandy  beach.  Three  sails 
are  in  sight,  one  almost  hidden  in  the  dark  shadow  of  the 


INDEX  AND  BIOGRAPHICAL  NOTES. 


49 


heavy  cloud  approaching  in  the  distance.  A light  breeze 
drives  small  white-capped  waves  upon  the  shore,  while  the 
ominous  clouds  indicate  an  approaching  storm.  A fine, 
strongly  colored,  beautiful  painting. 

DUPRE  (Leon  Victor). 

Born  at  Limoges  (Haute-Vienne),  June  18,  1816. 

Landscape  painter. 

Brother  and  pupil  of  Jules  Dupre. 

No.  47— “The  Wooded  Pasture.” 

6x8. 

In  the  center  of  the  picture  is  a beautiful  oak  tree,  and 
from  beneath  its  roots  a spring  of  sparkling  water  bubbles 
up  into  a running  brook  from  which  some  cows  are  drink- 
ing. Other  cattle  are  scattered  in  various  portions  of  the 
shady  pasture  beyond,  and  all  nature  seems  glad  under  the 
vari-colored  sky  of  a summer  day. 


DU  NUOY  LE  COMTE  (Jules  Jean  Antoine)  . Paris 
Born  at  Paris,  1842. 

Pupil  of  Gerome,  Gleyre  and  Signol. 

Pupil  of  the  Ecole  des  Beaux  Arts. 

Won  the  Second  Grand  Prize  in  1865. 

Medals,  1866,  1869  and  1872. 

Cross  of  the  Legion  of  Honor,  1876. 

Hors  de  Concours. 

Medal  in  London,  1862. 

Medal  at  Vienna,  Universal  Exhibition,  1873. 


50 


T.  B.  WALKER  COLLECTION. 


No.  48— “Arabs  at  Prayer.” 

16*4x22. 

A group  of  Arabs  are  standing  and  kneeling  on  the 
prayer  rug,  before  the  shrine  of  a Mohammedan  Mosque. 
They  have  reverently  put  off  their  shoes,  and  are  devoutly 
reading  their  prayers.  The  bright  costumes  of  the  Arabs, 
the  warm  tints  of  the  rugs  and  the  shining  marble  of  the 
Moslem  interior  form  a bright,  rich  picture. 


No.  49 — “Christian  Pilgrims  at  the  Tomb  of  the  Holy 
Virgin  at  Jerusalem.” 

52x34. 

This  great  picture  was  exhibited  at  the  Salon  in  1878.  A 
number  of  devout  worshipers  surround  the  traditional  tomb 
of  the  Holy  Mother.  A red  light,  pouring  through  the 
open  door  and  gleaming  through  the  slit  cross  above  the 
portal,  indicates  that  a religious  ceremony  is  in  progress 
within  the  chapel  that  covers  the  shrine.  A group  of 
fervent  believers,  native  Christians,  outside,  show  rever- 
ence and  ardent  faith.  Some  of  them  are  pilgrims  from 
afar.  They  have  come  to  ask  blessings  from  the  Holy 
Virgin.  The  principal  figure  is  a mother,  filled  with  de- 
vout enthusiasm  and  hope.  She  believes  that  her  sickly 
son  beside  her  will  be  cured  of  his  disease.  A weakly,  ail- 
ing child,  in  the  last  stages  of  physical  prostration,  lies 
outstretched  at  the  feet  of  his  mother,  who  turns  her  im- 
ploring eyes  to  the  Throne  of  Grace.  Almost  within  the 
door  is  a cripple,  reading  prayers  and  hoping  his  lameness 
will  leave  him.  On  the  left  of  the  portal  and  guarding 
the  shrine,  is  a Mohammedan  functionary  accoutered  with 
swords,  pistols  and  daggers.  He  listlessly  smokes  his  pipe, 
and  superciliously  ignores  the  Christian  rabble.  In  the 
distance  are  hills  of  Zion,  and,  typical  of  Moslemism,  a 


INDEX  AND  BIOGRAPHICAL  NOTES. 


51 


vulture  is  lowering  over  the  Sacred  City,  while  the  moon, 
emblematic  of  the  Blessed  Mother,  is  rising  in  the  azure, 
which  is  tipped  with  the  rosy  gleams  of  the  rising  sun. 
This  is  a painting  full  of  religious  sentiment,  overflowing 
with  a wonderful  diversity  of  color  and  representing  a 
scene  from  which  a lesson  must  be  learned  by  all  who 
view  it  with  a proper  spirit. 

No.  50 — “The  Mendicant.” 

11x14. 

A venerable  old  man,  a beggar  and  a wanderer,  is  sit- 
ting under  a doorway,  beseeching  the  passer-by  for  alms. 
His  wrinkled  and  yellow  skin,  shriveled  with  exposure  and 
age,  his  spare  white  hair  and  watery  eyes,  form  a picture 
of  age  in  its  most  pitable  form. 

ESSELINS  (Jacob). 

“A  painter  of  Amsterdam  in  the  17th  century,  is  said  to 
have  been  a pupil  of  Rembrandt.  His  pictures  represent 
villages  on  the  banks  of  rivers,  woody  landscapes,  build- 
ings with  magnificent  fountains,  stag-hunts,  and  shipping 
pieces,  painted  in  a clear  tone  of  colour,  and  with  figures 
spiritedly  touched.  The  dates  of  his  birth  and  death  are 
not  recorded.  A picture  of  ‘Figures  by  a River,’  signed 
with  his  name,  is  in  the  Rotterdam  Museum;  a ‘Fishing 
Piece’  is  in  the  Copenhagen  Gallery;  and  in  the  Glasgow 
Corporation  Galleries  is  a ‘Rendezvous  of  a Hunting 
Party.’  ” 

— Bryan  s Dictionary  of  Painters  and  Engravers. 

No.  51 — “The  Arrival  of  the  Mail  at  Holland  Inn.” 

24x20. 

On  the  right  of  the  picture  is  the  inn  surrounded  by 
country  folk,  who  are  awaiting  the  arrival  of  the  post 
carrier  with  the  mail.  Adjoining  the  inn  is  a blacksmith 
shop,  in  front  of  which  some  horses  are  awaiting  their 
turn  to  be  shod. 


52 


T.  B.  WALKER  COLLECTION. 


FRANCAIS  (Francois  Louis)  ....  Paris 
Born  at  Plombieres,  1814. 

Pupil  of  Gigoux  and  Corot. 

In  1848  and  1852  this  artist  was  a member  of  the  juries  of 
admission  and  award  at  the  Salon. 

Chevalier  of  the  Legion  of  Honor,  1853. 

Officer  of  the  same,  1867. 

Medals,  1841,  1848,  1855,  1867. 

Medal  of  Honor,  1878. 

One  of  the  last  of  the  Barbazon  school. 

Rene  Menard  says  of  Francais: 

“He  has  sought  to  translate  the  varied  expressions  which 
he  has  received  in  different  countries.  The  Campagna  of 
Rome,  or  the  Environs  of  Paris,  the  Coasts  of  Brittany  or 
the  Cascades  of  Switzerland,  are,  turn  by  turn,  analyzed 
and  rendered  with  the  vigorous  exactness  of  a portrait. 
Each  locality  retains  its  own  charms.” 

“ ‘The  Sacred  Woods’  was  pronounced  by  Rousseau 
himself  ‘one  of  the  most  remarkable  landscapes  of  modern 
times.’”  — History  of  French  Painting  (p  250). 


No.  52 — “The  Sacred  Woods.” 

15^4x22. 

A beautiful  sunset  sky  is  seen  through  the  trees  of  the 
ancient  Park  of  the  Gods  near  Rome.  The  time  is  just 
after  the  sun  has  dropped  below  the  horizon.  The  twi- 
light shades  have  given  the  trees,  statues,  and  figures  that 
tone  so  peculiar  to  “evening  come  before  day  has  gone.” 
The  sky  in  all  the  splendor  of  purple  and  gold  shows 
through  the  trees  in  the  last  dying  glory  of  the  summer 
sunset. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


53 


FABRITIUS  (Karel). 

Born  1624.  Died  in  Delft,  1654. 

“The  birthplace  is  not  known.  He  was  a student  of 
Rembrandt,  in  whose  school  he  was  the  fellow-pupil  of 
Samuel  van  Hoogstraten.  He  was  a painter  of  the  first 
order,  especially  in  portraits,  and  was  counted  among  the 
best  in  perspective.  He  was  suddenly  killed  by  an  ex- 
plosion of  a powder  magazine  while  painting  the  portrait 
of  the  beadle  of  the  old  church  of  Delft. 

“It  is  singular  that  the  birthplace  of  this  artist,  whose 
works  are  spoken  of  as  worthy  of  Rembrandt,  is  not 
known.” — Painters  and  Their  Work. 

“Karel  Fabritius  was  of  the  Dutch  school;  pupil  of  Rem- 
brandt and  painter  of  the  first  order,  especially  in  por- 
traits.” 

— Cyclopedia  of  Painters  and  Paintings. 

No.  53— “The  Head  of  a Man.” 

18x23. 

From  the  Olden  Barnevelt  Collection. 

So  closely  did  this  apt  student  follow  the  perspective 
and  color  effects  of  his  renowned  teacher  Rembrandt,  that 
his  portraits  are  often  mistaken  for  the  work  of  that  great 
master. 

In  this  beautiful  portrait  especially,  the  features  have 
the  same  delicate  outline,  and  the  distribution  of  lights  and 
shadows  show  the  touch  of  an  artist  of  the  foremost 
rank. 


54 


T.  B.  WALKER  COLLECTION. 


FRERE  (Theodore) France 

Born  at  Paris. 

Pupil  of  J.  Cogniet  and  of  C.  Roquesplau. 
Exhibited  in  Salon,  1884. 

Hors  de  Concours. 

No.  54 — “Camel  Train  on  the  Bank  of  the  Nile.” 

10*Ax6y2. 

A number  of  camels  with  their  attendants  are  stopping 
to  rest  on  the  river  bank.  In  the  distance  are  some  old 
ruins  surrounded  by  tall  palmetto  trees. 


FLINCK  (Govaert). 

Dutch  historical  and  portrait  painter. 

Born  at  Cleves,  1614.  Died  in  1660. 

“He  first  studied  under  Lambert  Jacobs  and  afterwards 
entered  the  school  of  Rembrandt.  He  advanced  rapidly 
and  became  one  of  the  most  distinguished  pupils  of  the 
eminent  artist.  He  soon  acquired  a high  reputation  and 
was  commissioned  by  the  Magistrates  of  Amsterdam  to 
execute  many  important  works  for  the  State  House.  His 
works  have  been  greatly  admired  for  the  purity  and  so- 
briety of  the  coloring  and  the  studied  and  judicious  ar- 
rangement of  the  compositions.  One  of  his  best  works  is 
Solomon  praying  for  the  Gift  of  Wisdom  in  the  Council 
Chamber  at  Amsterdam.” 

— Spooner’s  History  of  the  Fine  Arts. 

“It  is  said  by  Descamps  that  Flinck,  on  seeing  one  of  the 
portraits  of  Vandyck,  renounced  that  branch  of  the  art 
and  confined  himself  to  historical  painting.  The  Burgo- 
masters of  Amsterdam  had  commissioned  him  to  paint 
twelve  large  pictures  for  the  town  house  of  which  he  had 
finished  the  sketches  when  he  died  in  1660.” 

— Pilkington’s  History  of  Engravers. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


55 


“Dutch  school;  historical  and  portrait  painter;  pupil  of 
Lambert  Jacobzen  and  Leeuwarden,  then  of  Rembrandt, 
under  whom  his  talent  developed  so  rapidly  that  after  one 
year  his  pictures  could  scarcely  be  distinguished  from  those 
of  the  master.  He  left  Rembrandt  in  1638,  and  took  the 
freedom  of  Amsterdam  in  1652.  After  Eeckhout,  he  was 
the  scholar  who  approached  nearest  to  Rembrandt.” 

— Cyclopedia  of  Painters  and  Paintings. 

“Painted  historical  subjects  and  portraits,  and  in  both  he 
was  one  of  the  most  successful  and  most  employed  artists 
of  his  country.  The  Magistrates  of  Amsterdam  engaged 
him  in  many  considerable  works  for  the  Stadthouse;  and 
he  painted  the  portraits  of  some  of  the  most  illustrious 
personages  of  his  time,  particularly  the  Elector  of  Bran- 
denburg; the  Duke  of  Cleves,  and  Prince  Maurice  of  Nas- 
sau, Stadtholder.  The  pictures  of  this  master,  without 
equaling  Rembrandt  in  the  richness  and  harmony  of  his 
tint,  or  the  magical  conduct  of  his  light  and  shadow,  are 
to  be  admired  for  a sobriety  and  purity  of  color  and  the 
studied  and  judicious  arrangement  of  his  compositions.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“The  ‘Isaac  Blessing  Jacob’  is,  however,  altogether  in 
the  style  of  Rembrandt,  and  it  must  be  borne  in  mind  that, 
later,  Flinck  adopted  somewhat  of  the  Italian  style  of 
painting.  His  best  works  were  produced  between  1638 
and  1650.  Pictures  by  Flinck  are  to  be  found  in  all  the 
great  galleries  of  Europe.” — Painters  and  Their  Work. 


No.  55 — “Burgomaster’s  Wife.” 

25x2% 

From  the  Collection  of  Count  Mnezneck,  of  Paris. 
Without  doubt  this  beautiful  picture  is  one  of  the  last 
and  best  by  this  painter,  who  is  recognized  as  the  most  im- 
portant of  the  Rembrandt  school,  as  he  was  still  employed 


56 


T.  B.  WALKER  COLLECTION. 


in  painting  for  the  Burgomasters  of  Amsterdam  when  he 
died  in  1660;  beside  the  peculiar  collar  and  head  dress  here 
shown  was  that  worn  about  that  period,  not  only  in  Hol- 
land but  in  other  parts  of  the  world.  His  flesh  tints,  while 
a few  shades  lighter  than  Rembrandt,  are  almost,  if  not 
quite,  equal  to  that  master’s  work.  This  painting  was  No. 
50  in  Count  Leon  Vandalin  Mniszech  Collection. 


No.  56 — “Tambourine  Player.” 

16x20. 

A beautiful  little  Dutch  girl,  with  bright  eyes  and  golden 
hair,  holding  her  favorite  tambourine  upon  her  knee.  The 
perfection  of  form  and  elegance  of  color  show  the  artist 
to  have  been  an  apt  student  of  his  renowned  master,  Rem- 
brandt. 


GAINSBOROUGH  (Thomas),  R.  A. 

Born  at  Sudbury  in  1727. 

Died  at  London,  1788. 

Pupil  of  Gravelot. 

Went  to  London  in  his  fifteenth  year  (1741). 
Worked  for  three  years  in  the  Martins  Lane  Academy 
under  Frank  Hayman,  the  historical  painter. 
Returned  to  Sudbury  in  1745  and  began  as  a portrait  painter. 

Removed  to  Ipswich,  and  in  1760  to  Bath. 

On  the  foundation  of  the  Royal  Academy  in  1768,  he  was 
one  of  the  thirty-six  original  members. 

Bryant  says: 

“Gainsborough  will  always  occupy  one  of  the  highest 
places  in  the  English  school,  whether  as  a portrait  or  land- 


INDEX  AND  BIOGRAPHICAL  NOTES. 


57 


scape  painter.  In  his  early  landscapes  he  showed  traces  of 
the  influence  of  the  Flemish  school,  but  as  time  went  on 
nature  alone  became  his  mistress.  As  a colorist  he  ranks 
with  Rubens,  and  in  technical  work  Ruskin  says,  ‘Turner 
is  a child  to  him.’  All  the  great  galleries  contain  his  works, 
there  being  twelve  in  the  National  Gallery  at  London.” 

Ruskin  says: 

“Gainsborough’s  power  of  color  is  capable  of  taking 
rank  beside  that  of  Rubens;  he  is  the  purest  colorist  (Sir 
Joshua  himself  not  excepted)  of  the  whole  English  school, 
Turner  himself  being,  in  management  and  quality  of  single 
and  particular  tint,  in  the  purely  technical  part  of  painting, 
a child  to  Gainsborough.” 


No.  57 — “The  Parish  Chapel,  Sudbury,  England.” 
12x10^. 

In  this  scene  is  shown,  somewhat  in  the  distance,  the 
parish  chapel  of  Sudbury,  Suffolk  county,  England,  the 
artist’s  native  town.  On  the  left  and  nearer  the  foreground 
on  a rising  knoll  and  shaded  by  a couple  of  tall  trees, 
is  a cottager’s  home.  In  front  of  the  cottage  a rugged  road 
leads  to  the  town.  On  the  roadside  three  figures  are  seen, 
a man  and  a woman  standing  talking  to  a woman  who  is 
seated  on  the  grass. 

From  the  Collection  of  Viscount  Clifton.  A very  full 
description  of  this  picture  is  given  in  Mr.  Walter  Arm- 
strongs' Catalogue  of  Gainsborough’s  Paintings. 


GELDER  (Arnold  de). 

Dutch  Painter. 

Born  at  Dort,  1645.  Died  1727. 

“He,  like  Rembrandt,  painted  portraits  and  historical 
subjects  showing  the  same  choice  or  form  and  same  fas- 
cinating charm  of  color.  Many  of  DeGelder’s  portraits 


58 


T.  B.  WALKER  COLLECTION. 


have  been  attributed  to  Rembrandt.  He  was  a fine  color- 
ist, fond  of  picturesque  effects  and  had  a broad  and  master- 
ly touch.” — Cyclopedia  of  Painters  and  Paintings, 

“He  became  a disciple  of  Rembrandt,  uinder  whom  he 
made  so  great  a proficiency  as  to  approach  very  near  that 
famous  artist.  Nor  is  it  in  any  way  surprising  that  in' his 
coloring,  handling  and  freedom  of  pencil,  he  should  So 
exactly  imitate  his  master,  since  he  resembled  him  also  in 
his  manner  of  thinking;  though  many  of  Rembrandt’s 
disciples  quitted  his  style  on  quitting  his  school.  De- 
Gelder  adhered  to  it  as  long  as  he  lived.” 

—Pilkington’s  Dictionary  of  Painters.  ' 
“Endowed  with  a similar  feeling  for  the  art,  he  seems, 
like  his  master,  to  have  only  appreciated  its  beauties  as 
they  related,  to  the  harmony  of  color  and  the  magical 
effect  of  a judicious'  management  of  the  chiaroscuro;  little 
solicitous  of  the  higher  considerations  of  correctness  of 
design  and  dignity  of  character:  Like  Rembrandt,  he 

painted  portraits  and  historical  subjects  in  which  he  ex- 
hibits the  same  uncouth  choice  of  forms,  with  the  same 
fascinating  charm  of  color,  the  same  eccentricities  and. 
defects,  with  his  admirable  conduct  of  light  and.  shadow 
and  the  richness  and  spirit  of  his  pencil.  . . . He  wa9 

the  most  successful  in  his  portraits,  some  of  which  are, 
not  unworthy  of  Rembrandt,  and  are  frequently  attributed 
to  that  master.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 
“He  acquired  the  elements  of  design  under  Samuel  van 
Hoogstraeten,  but  afterwards  went  to  Amsterdam  and 
entered  the  school  of  Rembrandt.  He  became  one  of  the 
most  accomplished  imitators  of  the  style  of  that  master, 
and  his  works  exhibit  the  same  magical  coloring  and  ad- 
mirable chiaro-scuro,  producing  an  effect  which  captivates 
the  beholder  and  counterbalances  the  uncouth  choice  of 
forms  and  impropriety  of  costume.” 

— Spooner’s  History  of  Fine  Arts. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


59 


No.  58 — “The  Blind  Simeon  and  Christ  Child  in  the 
Temple.” 

39^x46^. 

From  the  collection  of  Sir  Wm.  Cunliffe  Broods, 

This  most  fascinating  painting  follows  in  every  detail 
the  style  and  finish  of  Rembrandt,  the  same  fascinating- 
charm  of  color  and  the  same  richness  and  spirit  of  pencil. 

Mary  has  taken  the  infant  Jesus  into  the  temple  to  make 
an  offering  for  him  according  to  the  Mosaic  Law,  and 
aged  Simeon,  whom  God  has  promised  should  not  die  until 
he  had  seen  his  glory,  meets  her  and  taking  the  Child  up 
in  his  arms  blessed  God,  and  said,  “Lord,  now  lettest  thou 
thy  servant  depart  in  peace  according  to  thy  word,  for 
mine  eyes  have  seen  thy  salvation.’’  In  that  sweet  up- 
turned face,  with  its  silken  beard  thinned  by  age,  is  more 
of  expression,  more  of  soul,  than  seems  possible  to  por- 
tray with  color  and  brush.  The  modest  mother  prayer- 
fully listens  to  the  magic  words  of  this  father  of  Israel, 
while  even  the  Divine  Infant  appears  to  realize  the  so- 
lemnity of  the  occasion. 

GERICAULT  (Jean  Louis  Andre  Theodore). 

Born  at  Rouen,  September  26,  1791. 

Died  at  Paris,  January  18,  1824. 

History  and  animal  painter. 

Pupil  of  Carle  Vernet  and  of  Guerin. 

In  1817,  after  serving  in  the  army  three  years,  he  went  to 
Italy  and  studied  in  Rome  and  Florence. 
“Theodore  Gericault,  a pupil  of  Carle  Vernet  and  Pierre 
Guerin,  died  very  young,  but  he  played  an  important  part 
in  French  art,  and  exerted  much  influence  on  the  whole 
school.” — D’ Anvers’  Elementary  History  of  Art. 


60 


T.  B.  WALKER  COLLECTION. 


No.  59— “An  Old  Friend.” 

18x15. 

A very  realistic  but  softly  colored  interior  barn  scene.  A 
horse  standing,  with  his  face  turned  toward  the  front, 
showing  a considerable  light  striking  against  his  side, 
which  brings  it  out  in  detail  very  clearly  and  finely.  It 
is  a light  roan  horse,  and  in  this  respect  different  from 
those  most  generally  reproduced  by  the  painters. 

GREUZE  (Jean  Baptiste). 

Born  at  Tournus  (Saone-et-Loire),  August  21,  1725. 

Died  in  Paris,  March  21,  1805. 

French  school;  genre  and  portrait  painter;  pupil  in  Lyons, 
of  Grandon,  and  in  Paris,  of  the  Academy,  in  1755. 

“His  works  are  highly  valued  for  their  exquisite  color- 
ing, particularly  his  carnations,  and  for  the  fine  models  of 
his  heads  and  countenances.  His  pictures  are  full  of  life 
and  sensibility,  and  his  heads  of  young  girls  possess  a 
charming  innocence  and  simplicity  that  deserves  the  high- 
est praise.  His  works  are  highly  prized  and  bring  large 
prices.” — Spooner’s  History  of  the  Fine  Arts. 

“One  of  the  most  distinguished  painters  of  the  modern 
French  School.  He  displayed  pre-eminent  talent  in  do- 
mestic, moral,  and  affecting  subjects.” 

— Pilkington’s  Dictionary  of  Painters. 

“His  style  is  eminently  French,  and  he  may  be  con- 
sidered as  one  of  their  best  colorists;  a quality  in  his  pic- 
tures that  can  be  recommended  for  imitation. 

“His  pictures  are  highly  prized  by  his  countrymen,  and 
no  less  so  by  English  amateurs.  Enormous  prices  have 
been  given  for  them  in  public  sales.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


61 


No.  60 — “Benjamin  Franklin.’’ 

23x285^. 

This  portrait  of  Franklin  was  painted  upon  his  order  in 
1775,  and  presented  by  him  to  Archibald  Hamilton  Rowen. 

In  1832,  he  began  the  publication  of  the  famous  “Poor 
Richard’s  Almanac.”  To  him  is  due  the  founding  of  the 
Philadelphia  Library,  now  one  of  the  largest  in  America. 
He  continued  to  rise  in  the  estimation  of  the  community 
until  he  was  deemed  worthy  of  the  highest  honors  his 
country  could  bestow. 

In  1736,  he  was  Clerk  of  the  General  Assembly  of  Penn- 
sylvania. 

In  1737,  Postmaster  of  Philadelphia. 

In  1753,  Deputy  Postmaster  General  for  the  British 
Colonies. 

From  1757  to  1762,  he  was  in  England  pleading  the 
cause  of  the  Colonies  before  the  Privy  Council,  and  pre- 
vailed. 

As  early  as  1752  he  had  made  extensive  experiments  in 
electricity  and  wrote  several  scientific  articles  which  were 
translated  into  several  languages.  From  1764  to  1775  he 
was  again  in  England  as  an  Ambassador  from  the  Colonies, 
and  on  his  return  in  1775,  was  unanimously  elected  as  a 
delegate  to  the  second  Continental  Congress.  He  was  one 
of  the  committee  chosen  to  frame  the  Declaration  of  In- 
dependence, which  he  signed  with  others  on  July  4,  1776. 
In  1776,  he  wras  sent  as  Ambassador  to  the  court  of  France. 
In  1785-6-7,  he  was  chosen  President  of  Pennsylvania.  He 
was  a delegate  in  1787  to  form  a constitution  of  the 
United  States.  His  last  public  act  was  the  signature  of  a 
memorial  to  Congress,  by  the  Abolition  Society,  of  which 
he  was  the  president.  He  died  in  Philadelphia,  April  17, 
1790. 


62 


T.  B.  WALKER  COLLECTION, 


GHIRLANDAJO  (Domenico  del),  Maker  of  Garlands. 

Born  at  Florence,  1449. 

Died  there  Jan.  11,  1494. 

Painted  historical  subjects  and  portraits. 

Florentine  School. 

“He  proved  one  of  the  most  distinguished  artists  of  that 
early  period,  both  as  a mosaicist  and  painter.  His  design 
was  more  graceful  and  correct  than  was  usual  in  his  time 
and  the  expression  of  his  heads  is  superior  to  any  painter 
that  has  preceded  him.  He  was  the  first  of  the  Florentine 
painters  who,  by  a judicious  attention  to  perspective, 
gave  to  their  works  the  appearance  of  verity  and  depth.” 
— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“He  was  invited  to  Rome  by  Sextus  IX.,  who  employed 
him  in  the  Sistine  Chapel,  where  he  painted  two  pictures. 
He  was  the  founder  of  a very  distinguished  school  which 
has  produced  many  eminent  artists  and  he  claims  to  be 
one  of  the  instructors  of  Buonarotti.” 

— Spooner’s  History  of  the  Fine  Arts. 

“He  lived  between  the  time  of  Masaccio  and  that  of 
Michael  Angelo,  and  his  works  differ  essentially  from 
theirs.  They  are  chiefly  large  frescoes  representing  sacred 
subjects,  into  which  he  introduced  the  portraits  of  dis- 
tinguished Florentines,  either  as  spectators  or  as  actually 
taking  part  in  the  scene  represented.  ...  As  a painter 
in  fresco  he  became  one  of  the  greatest  as  regards  technical 
skill  and  facility  of  expression.” 

— Painters  and  Their  Works. 

No.  61— “Laura  D.  Sades  ” 

28x23^. 

The  lady  love  of  Petrarch,  the  great  poet,  pronounced 
a genuine  painting  of  this  noted  artist.  The  features  are 
clearly  and  delicately  outlined.  The  flesh  tints  are  still 


INDEX  AND  BIOGRAPHICAL  NOTES. 


63 


almost  perfect,  although  upwards  of  four  centuries  have 
elapsed  since  the  canvas  left  the  artist’s  easel.  She  stands 
by  an  open  door  holding  an  apple  and  a red  carnation,  no 
doubt  presented  to  her  by  Petrarch,  whom  one  can  imagine 
standing  just  outside  the  door. 


GROS  (Antoine  Jean,  Baron). 

Born  in  Paris,  March  16,  1771. 

Died  there  June  27,  1835. 

History  and  portrait  painter. 

Son  of  Jean  Antoine,  miniature  painter,  and  pupil  of  David. 


No.  62 — “King  Charles  X.” 

17x21. 

King  of  France,  born  at  Versailles  in  1757;  was  the  son 
of  the  Dauphin  (who  was  the  oldest  son  of  Louis  XV)  and 
was  the  youngest  brother  of  Louis  XVI.  In  1773,  he 
married  Maria  Theresa,  of  Savoy,  daughter  of  the  King  of 
Sardinia,  by  whom  he  had  two  sons.  He  constantly  op- 
posed all  concessions  to  the  Revolution  and  joined  the 
Royalist  Emigration  in  1789.  After  Bonaparte  had  ceased 
to  reign,  Count  d’Artois  (afterward  King  Charles  X)  en- 
tered Paris  with  the  allied  armies.  He  ascended  the 
throne  September  16,  1824,  under  favorable  circumstances. 
He  was  unfortunate  with  his  ministries,  however. 

In  March,  1830,  the  Chamber  voted  an  address  hostile  to 
the  ministers.  The  King  and  Cabinet  then  resolved  on  a 
coup  d’etat.  On  July  25,  1830,  they  issued  the  ordinances 
which  infringed  the  charter,  and  caused  an  expulsion  of  the 
Monarchy.  After  a bloody  contest  of  three  days’  duration 
in  the  streets  of  Paris,  between  the  people  and  the  army 
under  Marmot,  the  Revolution  was  completed  on  the  30th 
of  July,  and  the  Bourbon  dynasty  ceased  to  reign.  Charles 


64 


T.  B.  WALKER  COLLECTION. 


abdicated  in  favor  of  his  grandson,  the  Due  de  Bordeaux, 
retired  to  England  and  died  at  Goritz  in  October,  1836. 
His  intellectual  capacity  was  small,  and  Lord  Brougham 
represents  him  as  a furious  bigot,  and  a declared  enemy  of 
liberty. 


GUARDI  (Francesco). 

Born  in  Venice,  in  1712. 

Died  in  1793. 

Venetian  school;  architecture  and  landscape  painter. 

Pupil  and  imitator  of  Canaletto. 

“He  painted  many  views  of  Venice,  which,  though  less 
precise  in  perspective  and  architectural  detail  than  those 
of  his  master,  are  charming  in  style  and  execution.” 

— Cyclopedia  of  Painters  and  Paintings. 

“As  the  number  of  his  pictures  was  very  great,  they 
were  sold  for  low  prices  until  about  forty  years  ago.  Since 
then  the  spirit  with  which  they  are  executed  and  the  force 
of  coloring  have  caused  them  to  rise  enormously  in  value.” 

— Painters  and  Their  Works. 


No.  63 — “Venice,  Looking  Seaward.” 

19x24. 

In  the  foreground,  and  extending  far  away  to  the  left,  is 
one  of  the  grand  canals,  dotted  with  gondolas  and  other 
small  craft,  some  far  out  to  sea,  while  others  lie  lazily 
near  the  shadows  of  the  great  palaces  upon  the  right.  The 
tall  steeple,  just  behind  the  mosque-like  building,  marks 
the  location  of  the  palace  of  the  Doges,  while  just  to  the 
right  is  seen  the  upper  portion  of  the  grand  cathedral. 

Although  Guardi  painted  many  Venetian  scenes,  few  of 
them  equal  this  splendid  production. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


65 


No.  64 — “Santa  Maria  De  La  Saluta.’’ 

31^x40M- 

This  is  one  of  the  many  grand  old  cathedrals  in  Venice. 
Some  were  built  as  early  as  the  twelfth  century,  the  city 
itself  having  been  founded  about  the  fifth  century.  Very 
nearly  all  the  finer  buildings  are  located  either  on  the 
Grand  Piazza  (Square  of  St.  Mark)  or  on  the  Grand  Canal, 
which  latter  we  see  in  the  foreground,  its  emerald  waters 
dotted  with  numerous  small  craft,  and  the  whole  so  real- 
istic that  we  may  all  but  imagine  hearing  the  splash  of  the 
oar,  or  the  gondolier’s  song. 

HAMMAN  (Edouard  Jean  Conrad) s Paris. 

Born  at  Ostend,  1819. 

Pupil  of  the  Art  Academy  at  Antwerp  and  DeKeyser. 

Settled  in  Paris,  1846. 

Gold  medal  at  Brussels  in  1848. 

Chevalier  of  the  Order  of  Leopold  of  Belgium,  1854. 

Medals  at  the  Salon,  1853,  1859  and  1863. 

Medal,  Exposition  Universelle,  1855. 

Cross  of  the  Legion  of  Honor,  1864.  ' 

Hors  de  Concours. 

“His  historical  works,  generally  representing  some  well 
known  episode,  are  remarkable  for  simplicity  of  design  and 
grace  of  execution.  In  the  brilliance  and  harmony  of  his 
coloring  he  sometimes  almost  equals  his  great  master,  N. 
DeKeyser,  but  in  the  general  style  of  his  genre  paintings, 
he  has  adopted  the  French  rather  than  the  Belgian  man- 
ner.”— Viardot. 


66 


T.  B.  WALKER  COLLECTION. 


No.  65— Haydn’s  Inspiration  for  ‘The  Seasons’  and 
‘The  Creation’.” 

41x2% 

Haydn,  while  crossing  the  English  Channel  on  his  last 
visit  to  London,  encountered  a terrific  storm.  He  was  so 
impressed  with  the  play  of  the  elements,  that,  it  is  said, 
he  was  inspired  to  compose  his  celebrated  oratorio,  “The 
Creation,”  and  the  cantata,  “The  Seasons.” 

HARPIGNIES  (Henri). 

Born  at  Valenciennes,  July  28,  1819. 

Landscape  painter. 

Pupil  of  Achard. 

“Both  in  oil  and  water-color  this  artist  stands  in  the 
first  rank  of  living  French  painters.  His  water-colors 
have  the  strength  and  breadth  of  the  English  school.” 

— Cyclopedia  of  Painters  and  Paintings. 

“Henri  Harpignies  is  also  successful  in  poetic  interpre- 
tation, as  in  his  ‘Evening  on  the  Roman  Campagna’.” 

— Radcliffe’s  Schools  and  Masters  of  Painting. 

“His  landscapes  are  broadly  treated,  with  great  firm- 
ness of  touch;  are  full  of  truthfulness,  light  and  great 
vigor.” — Stranahari s History  of  French  Painting. 

“Harpignies,  although  not  destitute  of  a certain  stiff- 
ness of  lack  of  mechanical  freedom  in  his  handling,  still 
renders  the  grander  effects  of  nature  with  majesty.” 

— Benjamin’s  Contemporary  Art  in  Europe. 


No.  66 — “A  Morning  Scene  Near  the  Forest  of 
Fontainebleau.” 

24x32. 

This  is  one  of  the  most  beautiful  and  refined  of  all  this 


INDEX  AND  BIOGRAPHICAL  NOTES.  67 


painter’s  works.  It  has  all  the  refined,  poetic  feeling  of 
a Corot,  yet  in  the  weird  and  peculiar  style  of  this  artist 
and  was  painted  in  his  best  period,  about  1880.  It  came 
from  the  Forbes  collection  in  London  and  was  the  finest 
of  fourteen  important  pictures  owned  by  Banker  Forbes 
in  his  well  known  collection.  The  picture  will  stand 
comparison  as  a landscape  with  any  of  the  refined  and 
real  impressionist  painters  of  modern  times.  He  stands 
alongside  of  Corot  as  the  greatest  of  the  Barbazon  paint- 
ers, and  is  the  last  remaining  one  of  that  celebrated 
school. 

No.  67 — “Another  Morning  Scene  Near  the  Forest  of 
Fontainebleau.” 

24x32. 

Represents  a pastoral  scene  with  some  peasants  and 
their  present  cottage  in  the  beautiful  poetic  style  of  this 
noted  painter.  A fit  companion  of  No.  66  of  this  catalogue. 

No.  68 — “Late  Evening  Scene.” 

30x42. 

This  evening  scene  has  all  of  the  strange,  weird  effect 
that  this  painter,  more  than  any  other,  can  give  to  his 
landscape  scenes.  It  represents  a solemn  landscape  scene, 
with  the  moon  in  the  far  distance,  central  view  of  the  pic- 
ture, with  trees  and  shrubbery  and  the  lonesome  twilight 
effect  scarcely  to  be  found  in  the  works  of  any  other 
painter  of  the  old  or  modern  schools. 

HART  (James  McDougal) N.  A.,  New  York. 

Born  at  Kilmarnock,  Scotland,  1828. 

Brother  of  Wm.  Hart,  N.  A. 

Brought  to  America,  1831. 

Studied  with  Schirmer,  in  Dusseldorf. 

Member  of  the  National  Academy,  New  York,  1859. 


68 


T.  B.  WALKER  COLLECTION. 


No.  69 — “Landscape  with  Cattle.” 

20x15. 

This  picture  covers  a large  expanse  of  scenery  and  is 
replete  with  beauty  and  refinement.  An  open  field  or 
pasture,  sloping  gradually  from  the  foreground  to  the 
edge  of  the  river,  which  is  seen  in  the  middle  of  the  pic- 
ture. Through  the  center  of  the  pasture,  with  its  grass 
of  delicate  sun-lit  green,  a small  path  may  be  traced  to 
the  water’s  edge.  In  the  foreground  some  cattle  are  rumi- 
nating. Along  the  river  banks  are  fine  trees  which  re- 
flect their  outlines  in  the  clear  water  of  the  stream.  In 
the  distance  is  a village,  while  in  the  extreme  distance  the 
blue-topped  hills  fade  into  the  sky.  A fine  example  of  the 
old  Hudson  River  School. 

HARLOW  (George  Henry) England. 

Born  at  London,  June  10,  1787. 

Died  at  London,  Feb.  4,  1819. 

Studied  under  De  Cart,  Drummond,  and  Sir  Thomas 
Lawrence.  ...  In  1818  Harlow  went  to  Italy,  and 
was  well  received  and  flattered  at  Rome,  where  he  was 
made  a member  of  the  Academy  of  St.  Luke.  He  ex- 
hibited between  1804  and  1818,  forty-two  portraits  at  the 
Royal  Academy,  and  five  at  the  British  Institution, 

He  worked  with  great  rapidity,  and  made  at  Rome  a 
good  copy  of  Raphael’s  “Transfiguration,”  the  same  size 
as  the  original,  in  eighteen  days. 

Harlow’s  best  works  are  his  small  portraits,  and  those 
done  with  a pencil  and  having  the  faces  slightly  tinted. 

— Painters  and  Their  Works . Vol  1.  P.  518. 

No  70— “Miss  O’Neil  as  Juliet.” 

25x40. 

Miss  O’Neil  was  a noted  English  actress  in  the  early 


INDEX  AND  BIOGRAPHICAL  NOTES. 


69 


part  of  the  nineteenth  century.  The  picture  is  one  of  those 
delicately  penciled  portraits  of  this  renowned  painter. 
The  tinting  of  the  face  is  very  delicate,  yet  most  natural, 
while  the  gown  and  laces  are  rich,  both  in  color  and  light 
effects. 

This  is  considered  one  of  the  best  of  Harlow’s  por- 
traits. 

HELST  (Bartholomeus  Van  der). 

Born  at  Haarlem  (or  Dordrecht),  in  1613. 

Died  in  Amsterdam,  buried  Dec.  16,  1670. 

“Dutch  School;  portrait  painter,  either  studied  under 
Frans  Hals  or  took  him  as  his  model,  and  became  one 
of  the  greatest  portrait  painters  of  his  time.  Lived  chiefly 
at  Amsterdam,  where  in  1654  he  and  Nicolaas  van  Helt- 
Stokade  founded  the  guild  of  St.  Luke.” 

—Cyclopedia  of  Painters  and  Paintings. 

“His  instructor  is  not  mentioned,  but  he  painted  sub- 
jects of  history  in  an  excellent  style,  and  as  a portrait 
painter  he  ranks  among  the  ablest  artists  of  his  country, 

“His  works  are  highly  prized  for  correct  drawing,  lively 
and  true  expression  of  the  figures  and  countenances,  and 
admirable  coloring.” 

—Spooner’s  History  of  the  Fine  Arts. 

“A  very  eminent  portrait  painter,  born  at  Haarlem  in 
1613.  The  Dutch  biographers  do  not  inform  us  by  whom 
he  was  instructed,  but  he  is  deservedly  considered  as  one 
of  the  ablest  artists  of  his  country.  That  his  talents  were 
of  no  ordinary  cast  may  be  presumed  from  Sir  Joshua 
Reynold’s  description  of  his  celebrated  picture  in  the 
stadthouse  at  Amsterdam.  ‘The  best  picture  in  the  house,’ 
says  that  judicious  critic,  ‘is  painted  by  Vanderhelst.’ 

“This  is  perhaps  the  first  picture  of  portraits  in  the 
world;  comprehending  more  of  those  qualities  which  make 


70 


T.  B.  WALKER  COLLECTION. 


a perfect  portrait  than  any  other  I have  seen;  they  are 
correctly  drawn,  both  heads  and  figures,  and  well  colored, 
and  have  a great  variety  of  action,  characters,  and  coun- 
tenances; and  those  so  lively  and  truthfully  expressing 
what  they  are  about,  that  the  spectator  has  nothing  to 
wish  for.” — Bryans  Dictionary  of  Painters  and  Engravers. 

“He  sometimes  employed  his  pencil  on  historical  sub- 
jects, and  the  landscapes  which  he  introduced  into  those 
compositions  are  always  in  good  taste,  and  designed  with 
great  truth  to  nature.  But  his  chief  merit  consisted  in 
portraits,  which  he  designed  in  an  agreeable  style,  with  a 
light,  free  touch,  and  a mellow  pencil,  with  bright  drape- 
ries. and  beautiful  coloring.  Many  of  his  countrymen  do 
not  hesitate  to  compare  him  with  Vandyck.” 

— Pilkington’s  Dictionary  of  Painters. 

“In  the  opinion  of  many  good  judges,  Bartholomeus 
Van  der  Heist,  as  a portrait  painter,  ranks  next  to  Van- 
dyck. 

“Fine  portraits  by  Van  der  Heist  are  to  be  found  in  all 
the  great  galleries  of  Europe,  and  even  in  many  private 
collections.” — Painters  and  Their  Works. 


No  71 — “Portrait  of  a Lady.” 

34x425£. 

This  is  a signed  painting  from  one  of  the  old  collections 
of  Europe,  is  of  the  age  of  Van  der  Heist,  and  has  every 
attribute,  even  to  the  family  crest  or  coat-of-arms  of  one 
of  the  prominent  houses  of  Europe,  so  carefully  painted 
in  the  corner  of  the  picture,  which,  with  the  dress  and 
bearing  of  the  lady,  and  the  refined  and  characteristic 
drawing  and  coloring  characteristic  of  this  artist,  alto- 
gether indicate  and  seem  to  insure  its  genuineness  as  a 
work  of  this  most  prominent  of  all  the  artists  of  his  time. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


71 


HERMANN  (Leo). France. 

Born  at  Paris. 

Pupil  of  the  Ecole  des  Beaux  Arts. 

No.  72— "The  Good  Story.” 

11x8*4. 

Leo  Hermann’s  “Good  Story”  made  him  noted  as  an 
artist.  One  of  the  Goupil’s  “Hundred  Masterpieces  of 
French  Art.” 

Two  portly  monks,  round  of  face  and  rotund  of  person, 
sit  before  a table  in  a well  furnished  apartment.  One  is 
reading  from  a small  volume  which  he  holds  in  his  hand. 
The  other,  in  an  ecstacy  of  laughter,  leans  back  in  his 
chair  speechless. 


HENNER  (Jean  Jacques). 

Born  in  Alsace,  1829. 

Died,  1905. 

His  paintings  are  marked  II.  Henner.  Pupil  of  Drol- 
ling and  Picot;  won  the  Grand  Prix  de  Rome  in  1858. 

Cyclopedia  of  Painters  and  Paintings. 

He  sent  to  the  Salon  in  1878  “A  Dead  Christ”  and  “The 
Magdalene,”  The  last  was  much  praised  by  Roger  Ballu, 
in  the  “Gazette  des  Beaux  Arts,”  July,  1878,  who  says: 
“How  can  we  describe  the  ineffable  poesy  of  this  figure, 
modeled  in  full  light,  the  flesh  of  which  has  the  agreeable 
brilliancy  of  a white  camellia  opening  itself  to  the  sun 
. . . you  may  accuse  me  of  enthusiasm'  if  you  wish, 

but  I was  ravished  at  the  sight  of  this  ‘Magdalene;’  it 
might  take  its  place  in  a museum,  and  proudly  regard  a 
Correggio.” 


72 


T.  B.  WALKER  COLLECTION. 


No.  73 — “Portrait  of  Grand  Opera  Singer.” 

18x24. 

This  is  one  of  Henner’s  strongest  portraits.  The  deli- 
cate flesh  tints,  the  strong,  beautiful  features,  the  splendid 
pose,  and  the  profusion  of  golden  hair,  together  with  the 
elegant  drperies,  make  up  a beautiful  woman.  The  dark 
background  causes  the  whole  portrait  to  stand  out  in 
almost  full  relief.  The  color  arrangement  is  most  har- 
monious and  pleasing. 

The  wonderful  flesh  of  his  “Magdalene,”  which  Ballu 
likens  to  the  “Brilliancy  of  a white  camelia  opening  itself 
to  the  sun,”  is  given  to  the  face  and  figure  of  this  painting, 
and  while  other  details  necessary  to  produce  a perfect 
picture  are  not  lacking;  yet  this  pearl  like  flesh  is  the 
potent  factor  in  the  composition  of  this  strong  attractive 
picture.  , 

No.  74— “The  Spinner.” 

17x24. 

One  remarkable  feature  of  this  picture  is  the  earnest 
determination  so  forcibly  portrayed  in  the  delicate  face. 
Again  we  see  the  blue  drapery  and  the  splendid  golden 
hair,  emblematic  of  this  artist. 

The  features  are  clear  and  finely  penciled,  the  hand, 
while  perfect,  shows  the  marks  of  toil,  and  the  whole 
subject  is  remarkable  for  its  simplicity  and  studied  finish. 

No.  75— “A  Reverie.” 

17x19. 

A maiden  sits  beside  her  table, 

Still  and  fair  as  marble  cast; 

Are  her  thoughts  about  the  future. 

Or  simply  day  dreams  of  the  past? 


INDEX  AND  BIOGRAPHICAL  NOTES. 


73 


Eyes  wide  open,  yet  see  nothing; 

Ears  alert,  yet  hear  no  sound; 

All  her  being  simply  dreaming, 

In  a reverie  profound. 

One  of  Henner’s  most  interesting  pictures. 

HOGARTH  (William)  .........  England. 

The  first  great  English  painter. 

Born  in  London,  December  10,  1697. 

Died  there  October  26,  1764. 

Son  of  Richard  Hogarth,  schoolmaster. 

“His  power  of  drawing  enabled  him  to  imitate  the 
forms  within  his  own  range  of  art — to  seize  their  expres- 
sion and  character — and  to  endow  them  with  truth  and 
nature.  His  color  was  simple  and  pleasing,  not  wanting 
in  harmony,  his  work  well  and  carefully  finished.” 

—Redgrave’s  Dictionary  of  Artists  of  the  English  School. 

“Thackeray  delineated  in  words  the  society  which  the 
artist  shows  us  in  color.  This  was  ever  the  bent  of  Ho- 
garth’s genius.  He  might  fail  as  a painter  of  history,  but 
never  as  a painter  of  life.  He  loved  to  ‘point  a moral’  as 
well  as  ‘adorn  a tale,’  and  the  moral  was  always  a drama- 
tic warning  against  vice. 

“The  distinctive  art  history  of  Great  Britian  really 
begins  with  Hogarth.” 

— RadclUfe’s  Schools  and  Masters  of  Painting. 

“England  did  not  produce  a first  class  master  of  genre 
until  the  eighteenth  century,  when  such  a one  appeared 
in  William  Hogarth.” — Lubke’s  History  of  Art. 

No.  76 — “Hogarth’s  Portrait  of  His  Wife.” 

20x31. 

Painted  about  1730.  Hogarth  was  noted  more  for  his 
character  scenes  and  representations  of  the  customs  of 


74 


T.  B.  WALKER  COLLECTION. 


the  times  than  as  a portrait  painter.  But  of  late  years 
his  portraits  have  become  as  highly  appreciated  as  those 
of  any  of  the  English  artists.  This  one  in  particular,  is 
fine  and  rich  in  tone,  the  lace  cap  and  large  lace  collar 
being  beautifully  painted.  The  background  is  also  very 
fine.  The  flesh  tones  are  natural.  It  is  altogether  one 
of  the  finest  portraits  of  any  of  the  old  English  artists. 


HOBBEMA  (Minderhout). 

Born,  1638.  Died  at  Amsterdam. 

Buried,  Dec.  14,  1709. 

Dutch  School. 

“His  style  was  similar  to  that  of  Ruysdael,  with  a richer 
and  more  harmonious  system  of  coloring.  His  subjects 
are  usually  of  a humble  character  and  his  execution  proves 
him  to  be  a close  student  and  follower  of  nature.  He  is 
considered  one  of  the  greatest  masters  of  landscape  art. 
Some  of  the  landscapes  are  enlivened  with  figures  by 
Pieter  Bouts,  Adrian  Van  der  Velde,  Berghem,  Storck,  B. 
Gael,  and  others.  The  works  of  Hobbema  are  now  ex- 
ceedingly scarce  and  very  valuable,  most  all  being  in 
England  at  the  present  time. 

“Formed  himself  under  the  influence  of  Jacob  van  Ruys- 
dael. Much  neglected  in  his  lifetime,  and  little  esteemed, 
this  painter  now  takes  rank  as  one  of  the  greatest  masters 
of  landscape  art,  thanks  to  the  initiative  of  England,  where 
nine-tenths  of  his  works  are  to  be  found.” 

— Cyclopedia  of  Painters  and  Paintings. 

“He  resided  at  Amsterdam,  and  lived  on  terms  of  inti- 
macy with  Nicolas  Berghem,  A.  Van  der  Velde,  John 
Lingelbach,  and  Ruysdael,  who  are  said  to  have  adorned 
his  landscapes  with  figures  and  animals.  His  style  was 
similar  to  the  latter,  with  a richer  and  more  harmonious 
system  of  coloring.  His  subjects  are  usually  of  a very 


INDEX  AND  BIOGRAPHICAL  NOTES. 


75 


humble  character,  often  representing  a cottage  embosomed 
in  a clump  of  trees,  with  a sandy  road  leading  through  a 
wood,  and  a brook  or  small  lake.  His  pictures  are  exe- 
cuted with  charming  simplicity,  and  he  is  not  surpassed 
by  any  Dutch  painter  for  pure  and  chaste  tints,  finish  and 
freedom  of  touch  and  intelligence  of  chiaro-oscuro.” 

— Spooner’s  History  of  the  Fine  Arts. 


No.  77— “The  Old  Mill.” 

28r/£x38H. 

From  Collection,  Ruston  Hall,  Northhamptonshire. 

The  first  glance  at  this  remarkable  painting  captivates 
the  lover  of  the  beautiful  in  tone  and  finish,  while  the 
harmony  of  coloring  has  scarcely  ever  been  surpassed. 

A quaint  old  mill  is  seen,  almost  hidden  by  the  over- 
shadowing trees  which  fringe  the  shores  of  the  small 
stream  and  casting  their  shadows  into  the  placid  waters 
of  the  millpond  with  such  idealistic  splendor  as  to  all 
but  rival  nature  itself.  Far  across  the  fields  and  meadows 
is  seen  a modest  farm  house,  and  the  whole  overshadowed 
by  the  fleecy  clouds  and  hazy  sky  of  a quiet  summer’s 
day,  marks  this  a finished  picture  of  a master  painter. 

No.  78 — “A  Wooded  Landscape.” 

21Hx31. 

From  Adrian  Hope  Collection. 

In  the  foreground  several  clumps  of  beautiful  trees  and 
a winding  roadway  leading  back  to  some  neat  little  cot- 
tage homes  almost  hidden  by  the  green  shrubbery;  the 
same  wooded  landscape  continued  until  lost  to  view 
through  the  dense  foliage  and  shadows  of  the  overhang- 
ing trees.  A hunter  with  his  dog  and  gun  are  seen  in  the 
roadway.  The  rich  coloring  and  artistic  shadows  make  an 
attractive  and  interesting  picture. 


T.  B.  WALKER  COLLECTION. 


/o 

HOLBEIN  (Hans  The  Younger). 

Born  in  Augsburg,  in  1497,  died  in  London  between  Oct. 
7 and  Nov.  29,  1543. 

German  school;  history  and  portrait  painter. 

Son  and  pupil  of  Hans  Holbein  the  elder. 

“The  wonderful  series  of  89  portraits  in  red  chalk  and 
India  ink  by  Holbein  in  the  royal  collection  at  Windsor, 
are  in  themselves  sufficient  to  stamp  him  as  one  of  the 
greatest  of  all  masters  in  portraiture.” 

— Cyclopedia  of  Painters  and  Paintings. 

“This  most  celebrated  artist  was  the  younger  son  of 
the  elder  Hans  Holbein,  of  Augsburg.” 

— James’s  Painters  and  Their  Works. 

“Was  not  only  the  greatest  German  exponent  of  the 
realistic  school,  but  one  of  the  first  portrait  painters  of 
any  age;  and,  moreover,  one  to  whom  the  British  school 
of  painting  owes  more  than  to  any  other  master.  Inferior 
in  grandeur  of  style  and  fertility  of  imagination  to  his 
great  cotemporary  Durer,  he  excelled  him  in  truth  to  na- 
ture, in  feeling  for  physical  beauty,  and  in  command  over 
all  the  technical  processes  of  his  art.” 

— D’ Anvers’  Elementary  History  of  Art. 

“It  has  been  the  lot  of  few  to  have  their  merit  so  mu- 
nificently rewarded,  or  to  whose  fame  posterity  has  paid 
the  tribute  of  more  honorable  testimony. 

“The  portraits  of  Holbein  are  distinguished  by  a pure 
and  simple  design,  peculiarly  characteristic  of  his  model, 
his  carnations  are  tender  and  clear,  and  his  heads,  without 
much  shadow,  have  a surprising  relief.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“Holbein  was  soon  presented,  and  Henry  immediately 
took  him  into  his  service,  assigning  him  apartments  in 
the  palace,  with  a liberal  pension,  besides  the  price  of  his 
pictures.  Holbein  painted  the  portrait  of  the  king  several 


INDEX  AND  BIOGRAPHICAL  NOTES. 


77 


times,  also  the  principal  personages  of  the  court,  and  many 
others  of  the  nobility. 

“His  portraits  are  distinguished  for  a pure  and  simple 
design;  his  carnations  are  tender  and  clear,  with  a peculiar 
enamelled  bloom;  and  his  heads,  without  much  shadow, 
have  a surprising  relief.  He  generally  painted  on  a green 
ground;  in  his  small  pictures  often  on  a blue. 

“There  are  a great  number  of  genuine  portraits  by  Hol- 
bein, in  the  mansions  of  the  nobility  throughout  England.” 
— Spooner’s  History  of  the  Fine  Arts. 

“His  portraits  up  to  this  time  all  display  that  uncom- 
mon facility  for  seizing  character  which  his  father  enjoyed 
before  him,  and  which  he  had  inherited  in  an  expanded 
form.  No  amount  of  labor,  no  laboriousness  of  finish — 
and  of  both  he  was  ever  prodigal — betrayed  him  into  loss 
of  resemblance  or  expression.  No  painter  was  ever  quicker 

at  noting  peculiarities  of  physiognomy His 

method  was  to  the  very  last  delicate,  finished  and  smooth, 
as  became  a painter  of  the  old  school.” 

— Encyclopedia  Britannica. 

“He  very  early  attained  great  technical  skill,  and  evinced 
a rare  power  of  drawing — lifelike,  full  of  character  and 
truthful. 

“Unsurpassed  in  many  of  the  highest  qualities  of  portrait 
art,  especially  in  his  lifelike  character,  he  was  no  less  so 
in  the  originality,  variety  and  power  of  his  designs.” 

— Redgrave’s  Dictionary  of  Artists  of  the  English  School. 

“Hans  Holbein,  the  younger,  called  Holbein  par  excel- 
lence, that  the  true  mantle  of  all  the  family  genius  descend- 
ed; and  his  biography  must  be  given  more  at  length. 

“Holbein’s  portraits  have  always  great  vigor  and  in- 
dividuality. They  do  not  evince  the  least  imagination  or 
soul;  yet  his  realism  is  so  correct,  his  expression  so  nat- 
ural, and  his  heads  so  simply  yet  thoroughly  and  forcibly 
finished,  that  he  ranks  in  this  respect  with  the  most  re- 
nowned artists  of  any  age  or  country.” 

— Radcliffe’s  Schools  and  Masters  of  Painting. 


78 


T.  B.  WALKER  COLLECTION. 


No.  79— “Henry  VIII.” 

46x35. 

This  painting  was  for  many  years  the  property  of  one 
of  the  most  prominent  families  in  England.  It  was  finally 
sold  and  came  into  the  possession  of  Colneghi,  the  most 
reliable  authority  in  England,  perhaps,  on  the  works  of 
the  masters.  This  picture  was  in  a noted  exhibition  of 
the  portraits  of  the  family  of  the  House  of  Tudor,  held  in 
Manchester,  England,  in  1897,  and  was  registered,  “No. 
83-4.  Title,  Henry  VIII.  Artist,  Hans  Holbein.  Lent 
by  Martin  Colneghi,  Esq.,”  as  shown  by  the  label  on  the 
back  of  the  canvas,  and  the  catalogue  of  the  Exhibition. 
It  represents  Henry  VIII.,  life  size  and  nearly  full  length, 
dressed  in  his  coat  made  of  golden  thread  woven  Into  the 
cloth  and  reproduced  very  beautifully  by  the  painter.  The 
king  has  on  his  rather  broad  brimmed  hat  with  very  little 
crown  shown,  his  gloves  in  his  hand  and  with  all  the  mag- 
nificence of  dress  possible.  An  extraordinary  picture  and 
framed  in  wood  carved  frame,  with  ornamental  figures 
and  open  Venetian  carving.  It  represents  one  of  the  most 
important  of  the  portrait  works  of  Holbein,  who  is  known 
as  one  of  the  greatest  of  the  portrait  painters,  which,  as 
Radcliffe  says,  makes  him  rank  “with  the  most  renowned 
artists  in  any  age  and  country.” 

INGRES  (Jean  Auguste  Dominique). 

Born  at  Montauban  (Tarn-et-Garonne),  August  29,  1780. 

Died  in  Paris,  January  14,  1867. 

“History  and  portrait  painter,  pupil  of  Roques  in  Tou- 
louse, and  of  David  in  Paris  (1796).  Won  the  second 
Grand  Prix  in  1800,  and  the  Grand  Prix  de  Rome  in  1801, 
but  being  unable  to  go  to  Italy,  on  account  of  the  war,  he 
spent  the  next  five  years  in  Paris  studying  the  pictures  in 
the  Louvre.” — Cyclopedia  of  Painters  and  Paintings. 


INDEX  AND  BIOGRAPHICAL  NOTES.  79 

No.  80— “Napoleon  in  Coronation  Robes.” 

14^x17^. 

This  splendid  portrait  represents  Napoleon  at  35  or- 36 
years  of  age  as  he  appeared  in  his  coronation  robes  when 
crowned  Emperor  of  France,  December  2,  1804. 

On  December  16,  1809,  he  divorced  Josephine,  whom  he 
married  in  1795,  and  was  married  to  Marie  Louise  on  April 
2,  1810.  On  March  20,  1811,  Napoleon’s  son,  the  King  of 
Rome,  was  born.  On  April  6,  1814,  he  abdicated,  and  on 
May  1,  1821,  he  died.  This  portrait  is  no  doubt  a faithful 
likeness  of  Napoleon  in  the  prime  of  life  and  at  the  very 
pinnacle  of  his  greatness. 

ISBEY  (Jean  Baptiste). 

Born  at  Nancy,  1767. 

Died  at  Paris,  1856. 

This  painter  is  said  to  have  studied  under  four  masters: 
Girodet,  Claudet,  Dumont,  and  David.  He  arrived  in 
Paris  in  1786,  and  was  so  fortunate  as  to  obtain  commis- 
sions to  paint  Marie  Antoinette,  and  other  members  of 
the  Royal  Family.  Isbey  was  no  less  in  favor  with  the 
chiefs  of  the  different  ruling  powers  that  succeeded  each 
other  in  France. 

Napoleon  appointed  him,  in  1805,  first  painter  to  the 
Empress  Josephine,  and  afterwards,  drawing  master  to 
the  Empress  Marie  Louise;  also  “Directeur  des  Fetes  et 
Ceremonies.”  Talleyrand  sent  him  to  paint  the  plenipoten- 
tiaries at  the  Congress  of  Vienna.  Louis  XVIII.  sat  to 
him.  Charles  X.  made  him  cabinet  painter,  and  Louis 
Philippe  appointed  him  Honorary  Conservator  of  Public 
Museums. 

His  picture  of  the  “Congress  of  Vienna”  is  at  Windsor, 
and  there  are  many  other  works  by  him  in  the  Louvre, 
and  at  Versailles. 

” — Pointers  and  Their  Works , Vol.  2,  Page  8. 


80 


T.  B.  WALKER  COLLECTION. 


No.  81. — “Lucien  Bonaparte.” 

12^4x23. 

Prince  of  Canino,  a brother  of  Napoleon,  born  at  Ajac- 
cio, in  March,  1775,  was  one  of  the  ablest  members  of 
the  family.  In  the  French  Revolution  he  showed  himself 
a zealous  republican  and  acted  with  much  energy  and 
moderation  on  several  occasions. 

In  1795  he  married  Christine  Boyer,  a poor  girl.  He 
was  elected  to  the  Council  of  the  Five  Hundred  in  April, 
1798.  He  held  many  other  prominent  positions.  In  1800 
his  wife  died,  and  in  1803  he  offended  the  First  Council 
by  marrying  a widow,  Madame  Jouberton.  He  went  into 
exile  in  1804,  settling  in  Rome,  where  he  entered  the  field 
of  literature  and  art.  The  Emperor  (his  brother)  offered 
him  a throne,  if  he  would  separate  from  his  wife,  but  he 
refused;  he  was  then  ordered  to  quit  Europe,  and  em- 
barked for  the  United  States  in  1810,  but  was  detained  in 
England  until  1814.  He  was  reconciled  to  Napoleon  in 
1815,  and  supported  him  actively  during  the  Hundred 
Days. 

He  passed  the  remainder  of  his  life  in  exile  in  Italy, 
where  he  wrote  “Charlemagne,”  etc. 

He  had  six  daughters  and  five  sons.  Died  at  Rome  in 
1840. 

INNESS  (George) N.  A.,  New  York. 

Born  at  Newburgh,  N.  Y.,  1825. 

Died  at  the  Bridge  of  Allan,  Scotland,  1894. 

Studied  art  at  Newark  N.  J.,  and  engraving  at  New  York. 
Elected  Associate  of  the  National  Academy  of  Design, 
1853,  and  a full  Academician,  1868. 

Visited  Europe  twice  and  lived  some  time  at 
Florence  and  Rome. 

“Mr.  Inness  was  the  foremost  American  landscape  paint- 


INDEX  AND  BIOGRAPHICAL  NOTES. 


81 


er,  and  one  of  the  most  able  and  individual  of  contempo- 
rary landscapists.  He  takes  rank  with  such  masters  as  the 
men  who  have  made  the  Barbazon  school  the  most  bril- 
liant phase  of  French  art,  Corot,  Rousseau  and  Dupre. 
While  his  technique  was  faultless,  his  drawing  forcible, 
and  his  coloring  brilliant,  his  fame  rested  upon  the  sub- 
jective quality  of  his  art.  He  loved  Nature  and  sympa- 
thized with  her  in  her  moods.” 

— New  York  World,  August  5,  1894. 

“Mr.  Inness  ranked  as  a painter  with  Rousseau,  Corot, 
Diaz  and  Dupre.  His  death,  with  that  bf  Wyant,  a couple 
of  years  ago,  removes  from  the  scene  the  two  great  Ameri- 
can painters  of  landscape.” — News,  Newark,  N.  /.,  1894. 

No.  82— -‘‘Harvest  Time  in  the  Delaware  Valley.” 

45x30. 

A pleasing  landscape  of  wide  meadow  and  river  wind- 
ing among  trees.  In  the  foreground  is  a wheat  field  in 
which  the  reapers  are  at  work.  In  the  middle  distance 
some  cattle  are  watering.  There  is  a skillful  distribution 
of  color  in  this  picture,  and  much  air  and  light. 

Mr.  Julius  Oehme,  of  New  York  City,  one  of  the  most 
experienced  art  men  of  the  world,  pronounces  this  as  fine 
and  beautiful  as  any  painting  ever  produced  by  Turner,  and 
much  more  permanent  and  durable  than  any  of  Turner’s 
finest  examples. 

INNESS  (George  Jr.). 

Born  in  New  York  City,  July  5th,  1854. 

Pupil  of  his  father,  George  Inness. 

Studied  under  Leon  Bonnat  in  Paris.  Sketched’ in  differ- 
ent parts  of  Europe. 

Mr.  Inness  has  produced  some  of  the  finest  landscapes 
of  any  of  the  modern  artists,  somewhat  in  the  manner  of 


82 


T.  B.  WALKER  COLLECTION. 


the  work  of  his  father,  yet  more  refined  and  beautiful  in 
color,  tone  and  effect.  George  Inness,  Sr.,  produced  some 
magnificent  paintings,  but  it  was  only  when  he  caught  an 
inspiration  and  color  scheme.  His  son  is  more  successful 
in  producing,  almost  always,  a fine  landscape.  He  has  also 
added  figures  and  with  sucess  produced  religious  pictures. 
He  is  better  known  in  France  than  in  this  country,  as  he 
has  been  there  for  a number  of  years,  studying  and  work- 
ing with  the  French  art  schools. 

Arsene  Alexandre,  who  is  regarded,  perhaps,  as  fore- 
most art  critic  in  Europe,  says  of  the  exhibition  contain- 
ing Inness’  pictures  as  follows:  “The  profoundest  senti- 

ment, the  simplicity  of  motive,  and  the  richness  of  execu- 
tion, render  the  landscapes  of  George  Inness,  Jr.,  particu- 
larly attractive.  They  show  the  mark  of  a true  artist  and 
an  excellent  painter.  Thus  do  they  command  the  great- 
est consideration.  It  would  be  impossible  to  come  before 
the  public  with  more  discretion  and  modesty  than  Mr. 
Inness  has  put  into  his  work.  Not  by  excessive  canvases, 
not  by  anecdote  does  he  try  to  become  popular,  and  which 
can  be  produced  on  the  boxes  of  various  products.  In 
truth  this  is  contrary  to  all  the  examples  shown.  In  re- 
turn he  gives  us  beautiful  motives,  very  simple,  taken 
from  the  grandest  nature,  or  more  exactly  in  the  grandest 
meditation  before  nature,  his  color  always  very  rich  and 
sometimes  of  great  intensity,  but  without  unnecessary 
violence.  Finally,  this  reflection,  this  personal  participa- 
tion of  the  painter,  in  the  scenes  which  he  gives  us,  is  an 
indispensable  condition,  not  only  to  make  good  studies, 
but  more  to  make  fine  pictures. 

“The  painter  truly  deserving  the  name  makes  provision’ 
of  sentiment  from  nature,  but  it  is  only  when  shut  into 
his  own  home  that  he  begins  really  to  be  free — when  he 
arranges,  enriches,  embellishes  and  composes  his  work 
By  this  operation  the  painting  becomes  a rare  object,  and 
one  remains  a long  time  before  it  in  repose,  because  it 


INDEX  AND  BIOGRAPHICAL  NOTES. 


83 


was  a long  time  loved.  There  is  very  little  chance  that 
Ruysdael,  Corot,  Rosseau,  who  worked  thus,  should  be 
mistaken. 

“Inness  is  an  American  who  had  for  his  master,  his 
father,  a celebrated  artist  of  the  United  States.  He  has 
worked  much  in  France,  and  it  is  here  that  he  feels  him- 
self most  at  his  ease  to  dream  and  work. 

“There  is  a great  variety  of  motive  in  these  pictures  and 
a grand  unity  of  temperament.  This  sentiment  is  earnest 
and  profound.  The  silver  hours,  and  the  golden  hours, 
please  him  above  all — the  clear  hours,  but  still  always 
mysterious,  where  the  earth  and  the  sky  embrace,  or  again, 
the  hours  more  mysterious,  where  the  earth  awakes  and 
the  sky  dreams — silver  fogs  of  the  morning,  golden  fogs  of 
the  evening,  veils  infinitely  rich  and  transparent,  which 
the  painter  so  well  sees  from  a distance,  but  in  which  he 
makes  one  feel  the  palpitation  of  life. 

“From  time  to  time  he  shows  the  fresh  and  bright  ap- 
pearance of  things,  but  there  still,  as  in  certain  pictures 
of  forests,  one  sees  the  richness  of  the  pictorial  matter 
invested  by  clearness  of  motive.  Several  pictures  amidst 
the  numerous  witnesses  show  to  us  mighty  effects  in  dif- 
ferent styles. 

“The  Venice,  so  harmonious,  and  in  which  the  lines 
take  so  much  grandeur.  The  Pond,  in  the  charming  fresh 
morning,  so  delicately  surrounded  by  vapors.  The  plain 
over  which  rolls  a stormy  sky  and  in  which  advances  a 
black  and  smoking  train — a canvas  as  happy  as  courageous. 
Or  still  another  picture,  which  shows  not  less  courage, 
and  is  not  less  successful,  where  one  sees  the  tops  of  the 
houses  lit  by  the  sun  of  an  evening  in  autumn,  while  in 
the  sky,  changeable  like  silk,  are  proudly  lifted  the  chim- 
neys of  a factory.  This  is  what  can  be  made  of  a subject 
in  which  beauty  is  not  perceived  by  the  greater  part  of 
the  passing  world — by  a man  who  is  a true  colorist  and 
has  the  emotions  of  a poet. 


84 


T.  B.  WALKER  COLLECTION. 


“All  this  makes  the  joy  of  painting,  but  a calm,  reflec- 
tive joy,  which  is  only  gotten  at  the  price  of  much  trouble, 
many  struggles,  and  intense  anxiety. 

“Mr.  Inness  does  not  show  himself  only  a landscapist. 
He  has  several  times  tried  to  render  his  thoughts  under 
subjects  borrowed  from  the  Scriptures,  as  in  ‘The  En- 
tombment,’ or  in  ‘The  Golgotha,’  where  he  shows  an 
original  composition,  and  a fine  light.  More  than  once, 
one  sees  appearing  before  him  his  destiny  of  rich  and 
moving  landscapist,  the  sight  of  which  will  be  the  reward 
offered  by  his  imagination  to  his  merit.” 


No.  83— “Rabboni  ” 

Represents  the  scene  of  Mary  meeting  Jesus  as  told 
in  John  XX.,  beginning  at  the  11th  verse,  “But  Mary  stood 
without  at  the  sepulchre  and  wept;  and  as  she  wept,  she 
stooped  down  and  looked  into  the  sepulchre. 

“12.  And  seeth  two  angels  in  white  sitting,  the  one  at 
the  head,  and  the  other  at  the  feet,  where  the  body  of 
Jesus  had  lain. 

“And  they  say  unto  her,  ‘Woman  why  weepest  thou?’ 
She  saith  unto  them,  ‘Because  they  have  taken  away  my 
Lord,  and  I know  not  where  they  have  laid  him.’ 

“14.  And  when  she  had  thus  said  she  turned  herself 
back,  and  saw  Jesus  standing,  and  knew  not  that  it  was 
Jesus. 

“15.  Jesus  saith  unto  her,  ‘Woman,  why  weepest  thou? 
whom  seekest  thou?’  She,  supposing  him  to  be  the  gar- 
dner,  saith  unto  him,  ‘Sir,  if  thou  have  borne  him  hence,  tell 
me  where  thou  hast  laid  him,  and  I will  take  him  away.’ 
“16.  Jesus  saith  unto  her,  ‘Mary.’  She  turned  herself, 
and  saith  unto  him  ‘Rabboni,  which  is  to  say,  Master.” 

A beautiful,  harmoniously  colored  picture,  representing 
the  morning  light,  apparently  just  before  sun-rise.  As 
poetic  and  beautiful  as  though  painted  by  Jules  Breton. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


85 


No.  84 — “Sunset  Scene.” 

15x22. 

A beautiful  sunset  scene,  showing  in  the  foreground  a 
little  stream  with  brush  and  a few  trees  along  the  bank. 
Farther  on  can  be  seen  a peasant  woman  carrying  a pail 
of  milk.  To  the  right  of  the  center  are  two  cows  feeding, 
while  in  the  distance  can  be  seen  a clump  of  trees  and  a 
church,  upon  which  the  setting  sun  throws  a soft,  warm 
light.  The  shadows  of  twilight  are  brightened  here  and 
there  by  the  soft  rays  of  the  sun. 


No.  85 — “Simple  Peasant  Life.” 

26x33. 

Like  all  the  pictures  painted  by  this  artist,  this  one 
represents  simple  country  life.  A slightly  undulating  mea- 
dow, with  two  lone  trees  to  the  right  of  the  center.  Here 
we  have  two  women  herding  cows — one  standing  to  the 
right  and  the  other  sitting  on  the  embankment  in  the 
foreground.  The  light  in  this  picture  is  exquisite.  Dark 
shadows  are  cast  on  the  scene  by  grey  purple  clouds, 
whose  edges  are  tinted  here  and  there  with  the  sunlight. 


No.  86 — “Evening  on  the  Delaware  Canal.” 

28^x36. 

In  the  lower  right  hand  corner  one  sees  a canal  boat 
and  one  lone  boatman  pushing  away  from  the  shore.  On 
the  right,  far  in  the  distance,  is  a small  hamlet  all  but  hid- 
den by  the  wood  bordering  the  river.  The  artistic  beauty 
of  this  picture  is  in  the  peculiar  light  effects.  In  a close 
study  of  the  picture  we  can  all  but  see  the  rifts  in  the 
clouds  through  which  the  sun  shines,  and  the  moving 
clouds  causing  the  lights  and  shadows  to  chase  each  other 


86 


T.  B.  WALKER  COLLECTION. 


over  hill  and  dale  and  down  even  across  the  broad  mea- 
dows on  the  left  until  they  are  lost  to  view  in  the  dim 
distance.  The  sunset  glory  in  the  western  sky  is  most 
magnificent. 

JACQUE  (Charles  Emile) Paris. 

Born  at  Paris,  1813. 

First  President  of  the  French  Society  of  Animal  Painters. 
Medals,  1851,  1861,  1863,  1864. 

Hors  de  Concours. 

He  died  in  1893,  rich  and  honored,  and  the  sale  of  his 
studio  collection  in  1894,  by  auction  in  Paris,  produced 
the  noteworthy  return  of  over  600,000  francs. 

“His  pictures  of  life  are  marvellous  in  their  minute 
representations,  not  only  in  the  larger  objects,  but  in  the 
details. 

“Why  have  Charles  Jacque’s  works  such  a powerful 
charm?  It  is  because  they  always  show  us  things  or  per- 
sons such  as  they  are  in  nature;  because  he  studied  them 
in  the  course  of  their  usual  life  and  avocations;  and  be- 
cause this  sincerity  carries  us  without  effect  to  the  scene 
that  he  chooses  to  represent.” 

— Artists  of  the  Nineteenth  Century. 

“Few  artists  have  a more  widely  extended,  or  a better 
deserved  reputation.”  — Cyclopedia  of  Painters. 

“But  the  most  incredible  and  ironical  fact,  in  the  glo- 
rious existence  of  an  artist,  is  that,  medaled  for  painting  in 
1849,  1863  and  1864 — all  third  class  medals,  Charles  Jacque 
has  obtained  in  all  seven  medals,  of  which  not  one,  it 
seems  incredible,  has  gone  beyond  the  third  class.  He  is, 
without  a doubt,  the  only  one  among  the  painters  and  en- 
gravers who  has  received  seven  third  class  medals.  Cer- 
tainly he  would  be  justified  in  lightly  valuing  official 
recompenses,  for  he  is  superior  to  the  highest.” 

— Jules  Claretie,  Goupil’s  Great  Modern  Painters,  1894. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


87 


No.  87— “Shepherd  and  Sheep.” 

13x9  yA. 

A compact  flock  of  sheep,  attended  by  a shepherd,  are 
coming  down  from  the  shelter  of  the  woods  to  a small 
stream  to  drink.  The  sky,  a little  blue  showing  through 
the  almost  unbroken  gray,  is  seen  beyond  the  trees  on 
the  right.  The  rest  of  the  upper  canvas  is  filled  with  the 
dark  green  of  the  shadowed  trees. 


No.  88— “Early  Morning  in  the  Sheepfold.” 

28x22. 

In  this  beautiful  picture  the  artist  portrays  the  interior 
of  the  sheep  stable.  The  shepherd,  by  the  dim  light  of 
the  old  fashioned  lantern,  is  filling  the  manger  with  hay, 
while  the  sheep  wait  impatiently  for  their  morning  meal. 
The  gray  light  of  the  early  dawn  creeping  through  the 
small  window  in  the  rear  causes  the  fowls  to  leave  their 
roosting  place,  and  one  may  be  seen  hurrying  into  the 
stable  anticipating  an  early  breakfast.  The  closer  one 
studies  this  splendid  painting  the  more  its  artistic  beauty 
is  realized. 

No.  89— “A  Hot  Afternoon.” 

33x26. 

A shepherd  is  seen  leading  his  flock  from  the  heated 
pastures  to  the  running  brook  beneath  the  shadows  of 
the  great  trees  bordering  its  banks.  The  sheep  walk 
with  heads  near  the  ground  indicating  that  they  are  hot 
and  thirsty.  The  shepherd’s  faithful  dog  precedes  them, 
however,  and  proceeds  to  slake  his  own  thirst  while  the 
flock  wait  impatiently.  This  has  been  pronounced  one  of 
the  finest  and  most  important  of  the  works  of  this  famous 
painter. 


88 


T.  B.  WALKER  COLLECTION. 


JACQUIN  (S.). 

Pupil  of  Guyot. 

Medals  at  Ostend,  Melbourne,  etc. 

No.  90 — “A  Barbizon  Shepherd  and  His  Flock.” 

33x25. 

This  canvas  is  an  excellent  example  of  the  work  of 
this  artist  in  the  field  in  which  he  is  most  at  home.  The 
blue-frocked  shepherd  is  admitting  his  flock  to  the  sheep- 
fold.  The  picture  is  well  drawn  and  very  lifelike. 


JANSSEN  (Cornelius). 

Born  in  Amsterdam  (?),  about  1590. 

Died  between  1662  and  1664. 

Dutch  School;  painted  with  Van  Dyck  for  eight  years. 

“His  style  is  clear,  lively  and  natural;  his  touch  light, 
his  pencil  delicate,  his  carnations  soft  and  sweet,  and  he 
painted  his  pictures  with  remarkable  neatness. 

“His  pictures  are  easily  distinguished  by  their  smooth, 
clean,  and  delicate  tints,  and  by  that  character  of  truth  to 
nature  with  which  they  are  strongly  marked.” 

— Spooner’s  History  of  the  Fine  Arts. 

“Janssen’s  portraits  may  be  known  by  their  being  more 
highly  finished  than  those  by  Van  Dyck,  as  he  had  formed 
his  own  manner  before  that  painter  came  to  England.” 

— Painters  and  Their  Work. 

“He  had  already  reached  considerable  celebrity  in  his 
own  country  when  he  visited  England  in  1618.  He  met 
with  very  flattering  encouragement,  and  was  taken  into 
the  service  of  James  I,  whose  portrait  he  painted  several 
times.  His  work  is  distinguished  by  a neat  finish  and  a 
clear  style  of  coloring.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


89 


“His  style  of  coloring  is  clear,  lively,  and  natural;  his 
touch  light,  his  pencil  delicate,  his  carnations  soft  and 
sweet,  and  his  pictures  are  finished  with  remarkable  neat- 
ness. Though  Jenssen  had  neither  the  freedom  of  hand, 
nor  the  grace  of  Van  Dyck,  yet  in  other  respects  he  was 
deemed  his  equal  and  the  finishing  of  his  pictures  su- 
perior. His  paintings  are  easily  distinguished  by  their 
smooth,  clear,  and  delicate  tints,  and  by  that  character  of 
truth  to  nature  with  which  they  are  strongly  marked.” 

— Pilkington’s  Dictionary  of  Painters. 


No.  91 — “Portrait  of  Lady  Carlisle.” 

29x42. 

From  Rustin  Hall,  Northamptonshire. 

Wife  of  Charles  Howard,  Earl  of  Carlisle.  Born  about 
1630,  who  was  employed  in  diplomatic  missions  to  Mus- 
covy, Sweden,  and  Denmark,  in  the  reign  of  Charles  II. 
He  died  in  1686. 

As  Janssen  died  in  1662,  this  beautiful  portrait  must 
have  been  one  of  his  later  and  best  pictures. 


JETTELL  (E.) Moravia. 

Born  at  Janovitz,  Moravia. 

Member  of  Jury,  Universal  Exposition,  1889. 
Chevalier  of  the  Legion  of  Honor,  1889. 

Hors  de  Concours. 

No.  92 — “Evening  in  Finistere.” 

36x29. 

On  a country  road  a peasant  woman,  with  a basket  on 
her  arm,  is  driving  her  two  cows  into  the  little  village. 
It  is  evening  time.  Just  above  the  thatched  roofs  of  the 


90 


T.  B.  WALKER  COLLECTION. 


cottages  the  full  moon  is  rising.  Its  mellow  light  lends 
a feeling  of  quietude  and  repose  to  the  surroundings. 
From  Sedelmeyer,  Paris. 

JULXEN  (S.).  . . France. 


No.  93— “The  Coming  Storm.” 

14x11. 

A pretty  little  landscape,  showing  winding  stream, 
flowing  through  meadow  lands.  Near  the  left  bank  of  the 
stream,  and  almost  in  the  foreground,  a small  boat  with 
its  occupant.  On  the  right,  and  in  the  distance,  a cluster 
of  trees,  in  the  center  of  which  are  some  farm  houses. 
Through  the  only  break  in  the  clouds  to  the  left,  a few  rays 
of  light  brighten  up  the  green  fields  and  tree-tops,  while  in 
the  extreme  right  of  the  picture,  the  ominous  sky  tells  of 
the  severity  of  the  storm  that  is  approaching. 

KNAUS  (Prof.  Ludwig).  . . . Dusseldorf. 

Born  at  Wiesbaden,  1829. 

Pupil  of  Jacobi,  of  the  Academy  of  Dusseldorf. 
Afterwards  allied  himself  with  Lessig,  Leutze  and  Weber. 
Spent  eight  years  in  Paris  studying  the  method 
of  the  French  painters. 

Member  of  the  Academies  of  Berlin,  Vienna,  Munich, 
Amsterdam,  Antwerp  and  Christiania,  and 
Knight  of  the  Order  of  Merit. 

Legion  of  Honor,  1859. 

Medal  of  Honor,  1867;  Officer  of  the  Legion  of 
Honor,  1867. 

Medals,  Vienna,  1882;  Munich,  1883;  Antwerp,  1855. 
Professor  of  the  Academy  of  Berlin. 

“Ludwig  Knaus  enjoys  the  unique  distinction  of  being 
accepted  by  Germany  as  her  chief  painter  of  genre,  and 


INDEX  AND  BIOGRAPHICAL  NOTES. 


91 


by  the  world  as  one  of  the  leading  masters  in  that  art. 
He  owes  his  double  triumph  to  the  variety  and  indepen- 
dence of  his  genius.” — Cyclopedia  of  Painters. 


No.  94— “The  Spat.” 

24x24-^-Oval. 

“A  painting  as  rich  in  tone  as  the  Old  Masters.” 

Of  this  painting  and  its  mate,  “The  Reconciliation,”  Mr. 
Knaus  says: 

“The  . two  paintings  in  oval  shape,  representing  playful 
Cupids,  which  Mr.  Knoedler  purchased  from  the  estate 
of  the  art  dealer  Lepke,  in  Berlin,  were  painted  by  me 
twenty  years  ago  for  my  house  in  Dusseldorf,  where  they 
remained  until  my  departure  from  there  in  the  year  1877.” 

( Signed ) Ludwig  Knaus. 

Berlin,  December,  1887. 


KNELLER  (Godfroid)  (Sir  Godfrey). 

Born  at  Lubeck,  1646. 

Died  at  Twickenham,  Nov.  7,  1723. 

Studied  under  Rembrandt  and  Bol. 

From  the  reign  of  Charles  II.  to  that  of  George  I., 
Kneller  was  court  painter,  and  there  was  hardly  a person 
of  distinction  who  lived  in  that  period  whose  portrait 
was  not  painted  by  Sir  Godfrey  Kneller. 

— Painters  and  Their  Works,  Vol.  2,  Page  42. 

“Dutch  school;  portrait  painter,  studied  under  Rem- 
brandt and  Ferdinand  Bol,  at  Amsterdam  and  in  Rome 
(1672-74),  under  Carlo  Maratta  and  Bernini  (?).  Went 
afterwards  to  Venice,  where  he  was  well  received  by  the 
leading  families  whose  portraits  he  painted.” 

— Encyclopedia  of  Painters  and  Paintings,  Vol.  2,  Page  393. 


92 


T.  B.  WALKER  COLLECTION. 


No.  95— “Nell  Gwynn.” 

22x3014. 

From  the  collection  of  Lord  Edward  Fitzgerald,  Dublin. 

Eleanor  Gwynn — Nell  Gwinne,  an  English  actress  and 
celebrated  beauty — born  in  London  in  1650.  After  she  had 
achieved  success,  as  an  actress,  she  became  a mistress  to 
Charles  II.  Died  about  1690. 


No.  96 — “The  Duke  of  Marlborough.” 

2154x29. 

From  the  collection  of  W.  Delafield,  London. 
Originally  John  Churchill,  born  at  Ashee,  in  Devonshire, 
June  24th,  1650.  Queen  Anne  created  him  Duke  of  Marl- 
borough in  December,  1702.  As  commander-in-chief  of 
the  armies  of  Great  Britain  he  achieved  many  wonder- 
ful victories. 

He  was  married  in  1678  to  Sarah  Jennings.  The  Duke 
once  remarked,  speaking  of  his  wife,  “I  can  without  fear, 
stand  before  the  cannons  of  the  enemy,  but  I can  not 
stand  before  Sarah  when  she  is  in  a passion.” 

He  died  in  1722. 


No.  97 — “Duchess  of  Marlborough.” 

2154x29. 

From  the  collection  of  W.  Delafield,  London. 

Sarah  Jennings  was  born  in  1660  and  was  celebrated  for 
her  beauty,  ambition  and  political  influence.  Macaulay  says 


INDEX  AND  BIOGRAPHICAL  NOTES. 


93 


history  exhibits  to  us  few  spectacles  more  remarkable 
than  that  a great  and  wise  man  who  could  carry  into  effect 
vast  and  profound  schemes  of  policy,  only  by  inducing  one 
foolish  woman  (his  wife),  who  was  often  unmanageable,  to 
manage  another  woman  (Queen  Anne),  who  was  more 
foolish  still. 


LAWRENCE  (Sir  Thomas) England. 

Born  at  Bristol,  1769.  Died  at  London,  1830. 

Entered  the  schools  of  the  Royal  Academy 
as  a student,  1787. 

Elected  an  Associate  of  the  Royal  Academy,  1791. 
Received  the  Honor  of  Knighthood,  1815. 

Elected  President  of  the  Royal  Academy,  1820. 
Chevalier  of  the  Legion  of  Honor,  1825. 

“The  first  great  name  which  meets  the  student  of  paint- 
ing in  England  in  the  nineteenth  century  is  that  of  Sir 
Thomas  Lawrence.” 

— N.  D’ Anvers’  Elementary  History  of  Art. 
“Sir  Thomas  Lawrence  takes  rank  next  to  Reynolds  in 
the  numerous  band  of  British  portrait  painters.” 

— Pilkington’s  Dictionary  of  Painters. 


No.  99 — “Portrait  of  a Child.” 

14x18. 

A bust  length  figure  af  a fair  haired  child.  The  head 
is  turned  slightly  to  the  right,  the  hair  falling  in  grace- 
ful ringlets  upon  the  uncovered  shoulders.  In  whatever 


94 


T.  B.  WALKER  COLLECTION. 


way  the  spectator  may  view  this  picture,  he  will  not  fail 
to  be  touched  by  the  innocent  beauty,  the  charming  sim- 
plicity and  grace  depicted  in  this  childish  face. 

Th^  design  of  Lawrence  is  graceful  and  unaffected;  his 
coloring  is  clear  and  brilliant,  with  a soft  splendor,  par- 
ticularly in  his  portraits,  which  render  them  fascmating 
in  the  highest  degree. 


No.  10Q — “Portrait  of  Mrs.  William  Southby.” 

25^x30^.' 

Purchased  by  Thomas  McLane,  of  London,  from  the 
sale  of  the  pictures  of  one  of  the  descendants  of  Wm. 
Southby.  The  picture  is  one  of  the  characteristic  paintings 
of  this  noted  artist  and  in  one  of  his  most  silvery  and 
brightest  tones.  Lawrence  also  painted  Wm,  Southby,  as 
well  as  this  portrait  of  Mrs.  Southby. 


No.  101 — “Portrait  of  Sir  Edward  Codrington.” 

30x24. 

Sir  Edward  Codrington  was  an  English  Admiral,  born 
in  1770,  died  in  London  in  1851.  Was>  Vice-Admiral  of 
the  English  fleet  in  1821  and  in  full  command  in  1826.  Was 
in  chief  command  of  the  combined  British,  Russian  and 
French  fleets  in  the  battle  of  Navarino  in  1827.  Mem- 
ber of  Parliament  1832  to  1839.  This  picture  is  from  the 
collection  of  Lady  Penelope  Gage. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


95. 


No.  102 — “Miss  Harriet  Millan,  Celebrated  Actress.” 

33x45. 

Purchased  from  a branch  of  the  Coutts  family. 

This  picture  was  painted  about  the  year  1815,  and  a short 
time  before  her  marriage  to  Lord  Coutts,  the  great  Eng- 
lish banker.  She  was  his  second  wife  and  had  no  children. 
Her  husband  died  in  1822,  and  left  his  entire  vast  fortune 
to  her.  Five  years  after,  in  1827,  she  married  the  Duke  of 
Saint  Albans,  and  she  di^ed  in  1837,  10  years  later.  As  she 
never  had  children,  she  willed  this  vast  estate  back  to 
Angele,  the  youngest  daughter  of  Lady  Frances  Burdette, 
who  was  the  youngest  daughter  of  her  husband  by  his 
first  wife. 

During  her  lifetime  she  was  exceedingly  liberal  and 
public-spirited  in  the  use  of  the  great  fortune,  and  felt  that 
as  it  came  through  the  Coutts  family  that  it  should  go 
back  into  that  line  rather  than  in  that  of  her  own  family, 
and  particularly  as  Angele  was  known  to  her  to  be  a most 
excellent  and  desirable  young  woman  who  would  use  the 
fortune  given  her  in  the  most  useful  manner,  as  has  proved 
true  in  the  life  records  of  the  Baroness  Burdette  Coutts, 
who  died  recently,  the  most  highly  respected  woman  in 
England,  so  held  and  esteemed  by  all  classes  of  people. 

Noe.  103 — “The  Countess  of  Darnley.” 

28^x44. 

Painted  about  A.  D.  1790. 

Wife  of  John  Bly,  fourth  Earl  of  Darnley.  It  is  not 
likely  that  Sir  Thomas  Lawrence  ever  painted  a more 
beautiful  portrait.  The  beauty,  bearing  and  modest  grace 
of  the  countess,  the  drapery  of  the  figure  and  the  rich 
architectural  background  are  all  portrayed  in  the  best 
style  and  finish  of  this  great  painter. 


96  T.  B.  WALKER  COLLECTION. 

LAURENS  (Jean  Paul).  .........  France. 

Born  at  Fourquevaux  (Haute-Garonne),  1838. 

Pupil  of  Bida  and  Leon  Cogniet. 

Medals,  1869  and  1872. 

Medal  of  Honor,  1877. 

Officer  of  the  Legion  of  Honor,  1878. 

Member  of  the  Jury  of  the  Exposition,  and  of  the  Salon. 

“Laurens  is  an  “intellectual”  artist,  having  a full  con- 
ception of  dramatic  effects.  In  the  tragic  subjects  which 
he  greatly  affects,  and  which  have  given  him  the  title 
‘painter  of  the  dead,’  he  maintains  quiet  conservatism;  he 
exaggerates  neither  expression  nor  gesture,  and  from  de- 
tails of  which  he  is  fond,  selects  most  felicitous  combina- 
tion s”— History  of  French  Painting. 


No.  104 — “Lucretia  Borgia.” 

20x24. 

A characteristic  Laurens.  Dark,  rich  and  powerful.  Lu- 
cretia Borgia  is  in  prison.  She  stands  leaning  on  the  ledge 
of  the  deep  embrasure  window,  through  which  a narrow 
strip  of  vivid  Italian  sky  is  visible.  The  light  falls  on  her 
auburn  hair  and  white  shoulders,  and  lights  up  the  rich 
folds  of  the  grey-green  brocade  of  her  robe.  Behind  her 
are  the  dark  tapestries  and  furnishings  of  her  prison  apart- 
ment. One  feels  the  depth  of  her  plotting  infamy  in  the 
cold  impenetrability  of  her  face.  Laurens  has  painted 
larger  and  more  striking  pictures  than  this,  but  never  one 
in  which  cold-hearted  treachery  was  more  powerfully 
rendered. 


INDEX  AND  BIOGRAPHICAL  NOTES.  97 
LEFEBVRE  (Jules  Joseph) Paris. 


Born  at  Tournan,  1824. 

Genre  and  portrait  painter. 

Pupil  of  Leon  Cogniet. 

Prize  of  Rome,  1861. 

Medals,  1865,  1868  and  1870. 

Cross  of  the  Legion  of  Honor,  1870. 

Officer  of  the  Legion  of  Honor,  1878. 

Grand  Medal  of  Honor,  1886. 

Hors  de  Concours. 

Member  of  the  Jury  at  Vienna  Exposition,  1882. 
“His  skilful  and  delicate  painting  of  flesh,  and  his  fine 
characterization  render  him  a distinguished  painter.” 

— History  of  French  Painting. 

No.  105— “The  Jewel  Bearer/’ 

18x22^. 

A half-length  figure  of  a young  girl  in  a quaint  dress  and 
velvet  cap,  bearing  in  her  hands  the  Queen’s  jewel  casket. 
The  straight  black  hair,  full  brown  eyes  and  soft  olive 
complexion,  render  it  a picture  full  of  maidenly  grace  and 
innocence. 

LEFEVRE  (Robert) France. 

Born  at  Bayeux,  1756.  Died,  1831. 

Genre  and  portrait  painter.  Pupil  of  Regnault. 
Removed  to  Paris,  1784. 

Legion  of  Honor,  1814. 

Exhibited  in  many  Salons  from  1791  to  1827. 

His  celebrated  painting,  “Cupid  Disarmed  by  Venus” 
(1795),  hangs  in  the  Louvre. 

“He  painted  the  portraits  of  Napoleon  and  Josephine, 
and  made  twenty-seven  copies  for  different  princes  and 
dignitaries  of  Europe.  At  the  restoration  of  the  Bour- 


98 


T.  B.  WALKER  COLLECTION. 


bons  he  was  employed  to  paint  the  portraits  of  Louis 
XVIII.  for  the  Chamber  of  Peers,  which  gained  for  him 
the  appointment  of  painter  to  the  King,  and  admission 
to  the  Legion  of  Honor.  Among  his  other  portraits  are 
those  of  Charles  X and  the  Duchesses  d’Angouleme  and 
de  Berri.” — Spooner’s  History  of  the  Fine  Arts. 

“As  a portrait  painter  he  enjoyed  a high  reputation.  He 
painted  the  Emperor  Napoleon  I.,  the  Empress  Josephine, 
Pope  Pius  VII.,  and  all  the  principal  personages  of  the 
Empire  and  the  Restoration.  In  1814  he  was  commis- 
sioned to  paint  the  portrait  of  Louis  XVIII.  for  the  Cham- 
ber of  Peers,  and  was  appointed  principal  painter  of  the 
Cabinet  and  Chamber  of  the  King,  and  made  a Knight  of 
the  Legion  of  Honor.  He  died  in  consequence  of  an  ac- 
cident, at  Paris,  January,  1831.” 

— Ottley’s  Painters  and  Engravers. 


No.  106 — “Portrait  of  Napoleon  Bonaparte.” 

22^x27 

This  portrait  was  painted  for  Napoleon  in  1810.  Lefevre 
was  then  court  painter,  and  produced  the  picture  from 
actual  sittings  and  observations  at  the  time.  The  picture 
hung  for  several  years  in  Napoleon’s  private  apartments 
at  Fontainebleau.  While  in  exile  on  the  Isle  of  St.  Helena, 
Napoleon  directed  its  presentation  to  the  Duke  of  Treviso 
(Field  Marshal  Mortier),  one  of  Napoleon’s  most  trusted 
and  highly  esteemed  commanders.  The  picture  was  owned 
by  Mortier  and  hung  in  his  library  during  the  remainder 
of  his  life,  and  at  his  death  it  was,  by  his  will,  left  to  his 
nephew,  Count  de  LaGrgmge.  At  the  death  of  Count  de 
LaGrange,  many  years  later,  the  picture,  under  the  laws 
of  France,  was  sold,  with  the  remainder  of  his  personal 
estate,  by  the  French  government,  and  the  history  of  the 
picture  given  officially  at  the  time  of  the  sale.  It  was 
purchased  by  one  of  the  leading  art  collectors  of  Paris, 


INDEX  AND  BIOGRAPHICAL  NOTES. 


99 


Viscount  de  Beaupleau,  of  whom  the  picture  was  obtained. 
At  the  time  of  its  purchase  it  was  on  its  way  to  the  art 
gallery  of  the  Invalides,  or  Tomb  of  Napoleon,  where  it 
was  to  enter  into  an  exhibition  of  the  great  painters  of 
the  country;  and  was  intended  for  the  place  of  honor  of 
the  whole  collection.  It  had  been  the  central  picture  at 
the  exhibition  of  the  “Great  Pictures  of  the  Century”  in 
1885,  where  it  attracted  much  attention,  and  was  given  a 
conspicuous  position,  not  only  as  a portrait,  but  as  the 
one  among  the  great  pictures  of  the  century. 

This  portrait  represents  Napoleon  in  his  military  dress, 
as  commander  of  the  French  armies.  Taken  in  his  prime, 
when  at  the  age  of  forty-one,  having  been  painted  in  1810, 
six  years  after  he  was  crowned  Emperor  of  the  French. 

As  the  picture  undoubtedly  had  the  approval  of  Na- 
poleon himself,  as  shown  from  its  production  by  his  order 
and  its  retention  by  himself  in  his  private  apartments  as 
his  personal  property,  and  presented  afterwards  as  a sub- 
stantial token  of  his  respect  and  esteem  to  that  one  of  his 
field  marshals  whom  he  seemed  to  respect  and  esteem 
more  highly  than  any  other,  it  certainly  has  the  highest 
claims  of  any  existing  portrait  to  being  considered  a cor- 
rect and  accurate  portrayal  of  the  greatest  commander, 
statesman  and  ruler  in  history. 

J.  T.  Headley,  speaking  of  the  .Duke  of  Treviso,  in  his 
work  “Napoleon  and  His  Marshals,”  says: 

“Mortier  was  a noble-hearted  man,  of  great  valor,  tem- 
pered with  prudence,  and  of  incorruptible  integrity.  Na- 
poleon loved  some  of  his  generals  for  their  chivalric  de- 
votion to  him,  while  he  had  no  great  admiration  for  their 
character — others  he  tolerated  because  they  were  useful; 
while  some  few  received  both  his  respect  and  affection. 
Mortier  belonged  to  the  latter  class.  Napoleon  loved  the 
frank,  unostentatious  and  heroic  chieftain,  whom  he  had 
proved  in  so  many  trying  circumstances.  Tall  and  well 
formed,  his  splendid  and  commanding  figure  moved  amid 


100 


T.  B.  WALKER  COLLECTION. 


the  chaos  of  a battlefield  like  some  ancient  hero,  while 
his  calm  and  powerful  voice  would  restore  confidence  in 
the  very  moment  of  despair.” 

(Translation.) 

“This  picture  was  presented  during  his  exile,  by  Na- 
poleon I.  to  Marshal  Duke  of  Treviso,  who,  by  his  last 
will,  left  to  his  nephew,  Comte  de  LaGrange.  When 
the  said  Comte  de  LaGrange  died,  it  was  part  of  the 
sale  after  his  death,  and  at  that  sale  was  purchased  by 
the  undersigned.  This  said  picture  (under  the  heading 
No.  203  of  the  official  catalogue)  was  the  central  picture 
of  the  collection  of  the  ‘Pictures  of  the  Century’  at  the 
Exposition  of  L’Ecole  des  Beaux  Arts. 

“This  said  information,  and  particulars  of  this  docu- 
ment, is  hereby  certified  to,  sincerely  and  authentically 
and  with  the  most  complete  exactness.” 

Personal  Seal 

(Signed)  and 

Viscount  de  Beaupleau.  Seal  of  France. 


LEROLLE  (Henri) France. 

Born  at  Paris. 

Pupil  of  Lamothe. 

Medals,  1879;  first  class,  1880. 

Hors  de  Concours. 

His  picture  of  1880  is  in  the  Luxembourg  Museum,  and 
that  of  1885  in  the  Metropolitan  Museum  of  New  York. 

A real  impressionist,  like  Breton,  Millet,  and  Cazin. 

No.  107 — “The  Resting  Place.” 

2734x24. 

A beautiful  picture  in  a soft  scheme  of  color.  The  time 
is  evening.  Two  girls  are  resting  on  a stile  in  the  midst 
of  the  grass  plot  that  crowns  the  hill.  Houses  in  the  val- 
ley can  be  seen  over  the  crest  of  the  hill,  through  the 
trees. 


INDEX  AND  BIOGRAPHICAL  NOTES.  101 


No.  108 — “The  Last  Sheaf." 

33x24. 

In  the  foreground  two  rustic  female  figures;  one  has 
a child  in  her  arms,  and  is  standing  watching  the  other, 
who,  in  a stooping  position,  is  gathering  up  the  last  sheaf. 
A couple  of  large  ricks  form  an  excellent  background  for 
the  woman  and  child.  The  coloring  and  atmospheric 
effects  are  thoroughly  characteristic  of  the  style  of  this 
artist.  Such  canvases  as  this  place  Lerolle  worthily  in 
the  ranks  of  such  poet  painters  as  Breton,  Millet  and 
Cazin.  The  artist  felt  the  beauty  and  sweetness  of  the 
morning  and  has  endeavored  with  success  to  transfer  it 
to  his  canvas. 


LELY  (Sir  Peter) — real  name,  Peter  Van  der  Faes. 

Born  at  Soest,  Westphalia,  1617. 

Portrait  painter,  Flemish  school. 

Appointed  Court  Painter  to  Charles  II. 

Died  in  London,  1680. 

“Through  the  influence  of  William,  Prince  of  Orange, 
Lely  was  presented  to  Charles  I.,  whose  portrait  he 
painted,  as  well  as  those  of  William  and  the  Princess 
Mary.  Thus  he  gained  great  reputation  and  encourage- 
ment, and  for  many  years  was  the  most  eminent  painter 
in  England.  His  works  are  characterized  by  a beautiful 
and  permanent  coloring,  and  graceful  attitudes.” 

— Spooner’s  History  of  the  Fine  Arts. 

“For  thirty  years  he  was  the  most  popular  portrait 
painter  in  England,  and  amassed  a large  fortune.  His 
portraits  are  of  elegant  conception,  clear  and  warm  col- 
oring, hands  especially  finely  drawn.” 

--Cyclopedia  of  Painters  and  Paintings. 


102 


T.  B.  WALKER  COLLECTION. 


No.  109 — “Portrait  of  Hon.  Barbara  Yelverton.’, 

(Daughter  of  one  of  the  well  known  and  prominent 
families  of  England.) 

24x30. 

A fine  example  of  this  artist’s  work. 

LORRAINE  (Claude).  (Claude  Gellee.) 

Born  at  Chamagne,  in  Lorraine,  in  1600. 

, Died  in  Rome  in  1682. 

French  School;  landscape  painter;  real  name  was  Gellee. 

Studied  under  Agostino  Tassi  and  Godfrey  Waal. 

“From  morning  till  night  he  was  seen  in  the  fields  con- 
templating, with  an  attentive  eye,  the  effects  produced  by 
the  sun  at  the  different  hours  of  the  day,  and  the  vapory 
veil  which  air  and  distance  throw  over  the  various  objects 
as  they  recede  from  the  sight. 

“His  landscapes  do  not,  like  those  of  the  Dutch  painters, 
exhibit  cold  portraiture  of  a prescribed  portion  of  a coun- 
try; he  soars  above  the  servile  representation  of  ordinary 
nature,  and  transports  his  spectators  into  the  regions  of 
poetry  and  enchantment.  In  this  point  of  view  Claude  will 
ever  be  regarded  as  the  first  of  landscape  painters;  and  it 
will  not  be  disputed  that  his  compositions  are  the  rich- 
est and  most  studied  of  all  those  who  have  excelled  in 
that  branch  of  art. 

“He  presented  to  the  beholder  such  an  infinity  of  ob- 
jects, and  conveys  him  over  such  a variety  of  hill  and  dale 
and  misty  mountains,  that  the  eye  may  be  said  to  be  con- 
strained, as  it  wanders,  to  repose  itself  on  the  way.  The 
superb  temples,  the  lofty  architecture,  with  which  he  em- 
bellished his  compositions;  his  ample  lakes,  peopled  with 
aquatic  birds;  the  glittering  luster  of  his  skies;  the  di- 
versity of  his  foliage,  strictly  suited  to  each  plant  or  tree; 
evefy  object  is  stamped  with  the  genuine  feature  of  se- 


INDEX  AND  BIOGRAPHICAL  NOTES.  103 


lected  nature.  In  his  pictures  of  morning,  the  rising  sun 
dissipates  the  dews,  and  the  fields  and  verdure  brighten  at 
the  approach  of  day;  his  evening  skies  expand  a glowing 
splendor  over  the  horizon;  vegetation,  oppressed  by  a sul- 
try aridity,  sinks  under  the  burning  heat  of  the  sun. 

“His  marines  and  magnificent  seaports  contend  for  the 
superiority  with  his  inimitable  landscapes,  in  the  purity 
and  freshness  of  the  air,  and  the  gently  undulating  swell 
of  the  water  sparkling  with  the  lucid  reflection  of  a clear 
and  brilliant  sunshine. 

“The  pictures  of  Claude  bear  visible  evidence  that  they 
are  the  result  of  much  thought,  deliberation  and  cultivated 
taste.  In  their  execution,  both  patience  and  elaborate  care 
are  equally  manifest.  His  best  works  are  painted  through- 
out with  a full  body  of  color,  and  a liberal  use  of  ultra- 
marine.  He  appears  to  have  commenced  his  operations 
entirely  in  grey,  in  which  that  valuable  color  is  freely  used; 
so  that  when  the  super  colors  in  the  completion  of  the 
work  are  applied,  the  silvery  hues  beneath  contribute  great- 
ly to  the  atmosphereic  effect,  which  constitutes  one  of  the 
chief  charms  in  his  pictures.  It  is  also  worthy  of  notice 
that  the  same  careful  attention  to  details  is  as  observable 
in  the  half  tones,  shadows,  and  distance  as  in  the  more 
prominent  and  luminous  parts.  Above  all,  the  high  qual- 
ity of  his  genius  is  best  discovered  in  the  selecting  of  ob- 
jects of  the  most  pleasing  forms,  tastefully  grouping  them 
together,  so  as  to  produce,  by  the  various  combinations,  a 
scene  replete  with  the  most  enchanting  beauties.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

“He  searched  for  true  principles  by  the  incessant  ex- 
amination of  nature,  usually  studying  in  the  open  fields, 
where  he  frequently  continued  from  sunrise  till  the  dusk 
of  the  evening,  sketching  whatever  he  thought  beautiful 
and  striking. 

“Every  curious  tinge  of  light  on  all  kinds  of  objects  he 
marked  in  his  sketches  with  a similar  color,  by  which 


104 


T.  B.  WALKER  COLLECTION. 


means  he  gave  his  landscapes  such  an  appearance  of  nature 
as  has  rarely  been  equaled  by  any  artist. 

“His  skies  are  warm  and  full  of  luster,  and  every  object 
is  properly  illumined.  His  distances  are  admirable,  and 
in  every  part  a delightful  uniformity  and  harmony  never 
fail  to  excite  admiration.  His  invention  is  pleasing,  his 
coloring  delicate,  his  tints  have  such  an  agreeable  sweet- 
ness and  variety  as  to  have  been  imperfectly  imitated  by 
the  best  subsequent  artists  and  were  never  equaled. 

“His  pictures  are  scarce,  especially  such  as  are  undam- 
aged, and  they  are  so  valued  that  no  price  is  thought  to 
be  superior  to  their  merits.  There  are  some  of  uncommon 
excellence  in  this  country.” 

— Pilkington’s  Dictionary  of  Painters. 

“His  works  are  combinations  of  beautiful  objects  bor- 
rowed from  the  inexhaustible  source  of  nature,  enriched 
by  art,  exhibited  under  the  most  lovely  forms  and  alluring 
media.  Sir  Joshua  Reynolds  says  in  his  Discourses,  that 
Claude  Lorraine  ‘was  convinced  that  taking  nature  as  he 
found  it  seldom  produced  beauty.*  If  the  scene  represents 
the  early  morning,  the  hemisphere  is  suffused  with  light 
and  warmth,  and  all  nature  visibly  feels  their  influence; 
the  mists  are  seen  dispersing,  and  the  cool  freshness  of 
the  dawn  of  day  is  yielding  to  the  absorbing  rays  of  the 
sun;  the  soft  zephrys  appear  to  agitate  in  gentle  ripples 
the  surface  of  the  lucid  streams,  and  to  breathe  in  whispers 
among  the  foliage  of  the  surrounding  groves.  The  shep- 
herd is  seen  leading  his  flocks  to  the  pastures,  or  Diana 
with  her  attending  nymphs,  is  sallying  forth  to  the  chase. 
Every  period  of  the  day,  with  all  its  elemental  vicissitudes, 
has  been  successfully  embodied  by  his  magic  pencil,  and 
even  the  gorgeous  splendor  of  a summer  evening,  with  all 
its  dazzling  brightness,  was  not  beyond  the  reach  of  his 
master  hand.  His  pictures  are  enriched  with  palaces,  tem- 
ples, and  other  noble  edifices;  and  the  ruins  of  ancient 
mighty  structures  are  so  appropriately  introduced,  and 


INDEX  AND  BIOGRAPHICAL  NOTES.  105 


composed  with  so  much  skill  and  taste,  that  it  is  easy  to 
imagine  that  they  once  had  existence  at  some  glorious  era 
of  the  Greek  or  Roman  states. 

“This  illustration  is  still  further  heightened  by  the  intro- 
duction of  some  event  from  sacred  or  profane  history, 
poetry,  or  romance,  which  accords  with  the  style  of  the 
buildings  and  the  scenes  depicted.  The  landscapes  of  other 
great  artists,  as  Gaspar  Poussin  and  Salvator  Rosa,  engage 
little  of  our  time  and  contemplation  to  run  over  the  scanty 
confines  of  their  scenery,  compared  with  the  august  and 
boundless  expanse  of  Claude.  He  presents  the  beholder 
such  an  infinity  of  objects,  and  conveys  him  over  such  a 
Variety  of  hill  and  dale  and  misty  mountains’  that  the  eye 
seems  to  be  constrained,  as  it  wanders,  to  repose  on  the 
way.  His  marines  and  magnificent  sea  ports  contend  for 
superiority  with  his  inimitable  landscapes,  in  the  purity 
and  freshness  of  the  atmosphere,  and  the  gentle,  undulat- 
ing swell  of  the  water,  sparkling  with  the  reflection  of  a 
clear  and  brilliant  sunshine.” 

— Spooner’s  History  of  the  Fine  Arts. 


No.  110 — “Sunset  in  an  Italian  Seaport.” 

3854x6  7. 

From  the  estate  of  Walter  Langdon. 

Purchased  by  him  in  London  in  1808. 

In  the  foreground  is  a group  of  emigrants  with  their  lug- 
gage; upon  some  planks  near-by  they  have  prepared  a meal 
with  a goodly  supply  of  liquid  refreshment.  On  one  of  the 
plates  will  be  seen  the  artist’s  name,  “Claude  Gellee  Lor- 
raine.” Groups  of  sailors  from  the  vessels  in  the  harbor 
are  conversing  with  their  friends,  while  others  are  busy  in 
the  rigging  of  the  great  vessel  on  the  left.  A number  of 
imposing  buildings  on  the  right  have  a frontage  on  the 
harbor  and  in  the  distance  is  the  Harbor  Light  and  as  the 


106 


T.  B.  WALKER  COLLECTION. 


shadows  deepen  many  sea  fowl  fly  shoreward  for  the 
night.  Far  across  the  expanse  of  water  the  sun  dips  low  in 
the  west,  shedding  its  declining  glory  on  the  few  fleecy 
clouds  o’erhead. 


LOSSOW  (Heinrich). Bavaria. 

Born  at  Munich,  1843. 

Pupil  of  Munich  Academy,  and  of  Royal  Conservatory 
at  Schlotheim. 

“Paints  rococo  scenes,  often  strongly  realistic.” 

— Cyclopedia  of  Painters  and  Paintings. 


No.  Ill— “Love  Awake.” 

22x27. 

A beautiful  brunette  is  teasing  and  coaxing  a little 
Cupid,  who  is  resisting  with  all  his  diminutive  strength. 
The  warm,  glowing  flesh  tones,  and  the  dark  drapery  of 
the  couch,  are  both  rich  and  delicate. 

No.  112 — “Love  Asleep.” 

22x27. 

Here  the  case  is  reversed.  It  is  the  little  god  of  love 
who  is  pleading,  and  a fair-haired  blonde  who  is  push- 
ing him  away,  deaf  to  his  coaxing,  blind  to  his  caresses. 
This  picture  is  lighter  in  tone  and  more  delicate  than  its 
mate. 

These  pictures  have  been  as  extensively  engraved  and 
reproduced  in  many  ways  as  the  “Angelus”  of  Millet. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


m 


LOUTHERBOURG  (Philippe  Jacques  de).  , . Prussia. 

Born  at  Fulda,  Hesse-Cassel,  1740.  '<  1 

Died  at  Chiswick,  England,  1812. 

Landscape,  marine  and  battle  painter. 

Studied  in  Paris  in  1775,  under  F.  Casanova^ 
Member  of  Academy,  1767. 

Settled  in  England,  1771. 

Member  Royal  Academy,  1781. 

Exhibited  155  works  in  Royal  Academy. 

“His  subjects  were  noble  and  grandly  treated,  and  he 
deserved  the  reputation  he  enjoyed.” 

— Redgrave’s  Dictionary  of  Artists  of  the  English  School. 

No.  113-—“ Ancient  Fortress  at  Cassel /’ 

25x18. 

This  scene  undoubtedly  attracted  the  artist’s  attention, 
not  alone  from  the  picturesque  nature  of  the  locality,  but 
was  enhanced  by  recollections  of  a memorable  spot  ad- 
joining his  boyhood’s  home.  It  represents  the  ancient 
fortress  on  the  summit  of  an  isolated , hill  at  Cassel,  which, 
from  the  flatness  of  the  adjacent  country  commands  an 
extensive  view.  At  the  foot  of  the  hill  and  in  the  fore- 
ground, some  cattle  are  wandering  at  a pool.  A boy  and 
girl  are  watching  the  herd.  The  old  moss-covered  castle 
and  parapet  on  the  hilltop  looms  out  grandly  against  the 
lowering  clouds,  while  the  verdtire  is  painted  with  marvel- 
lous fidelity. 

MARATTI  (Carlo). 

Born  in  Camerano,  May  13,  1625. 

Died  in  Rome,  December  15,  1713. 

Roman  School;  best  and  favored  pupil  of  Andrea  Sacchi. 
; “One  of  the  first  artists  of  his  time. 

“Most  popular  and  most  employed  artist  of  Rome.” 

-—Spooner’s  History  of  the  Fine  Arts.  > 


108 


T.  B.  WALKER  COLLECTION. 


“The  most  admired  statues  of  the  ancients,  and  cele- 
brated paintings  of  the  best  of  his  predecessors,  were  the 
objects  of  his  perpetual  attention  and  imitation;  till  he 
had  made  himself  master  of  the  most  beautiful  forms  and 
graceful  attitudes  and  airs  of  heads.  Those  he  sketched 
with  the  utmost  facility,  and  conveyed  such  dignity, 
beauty  and  elegance  to  his  own  compositions,  as  surpassed 
the  works  of  all  his  contemporaries.  Maratti’s  manner  of 
designing  was  grand,  and  his  mode  of  thinking  and  com- 
posing truly  noble  as  well  as  judicious;  his  ordonnances 
were  rich  and  magnificent,  and  his  expression  lively  and 
affecting. 

“His  touch  is  lively  and  exquisite,  and  his  draperies 
have  a noble  variety,  being  managed  with  peculiar  art  and 
judgment. 

“Maratti  received  the  honor  of  knighthood  as  a public 
testimony  of  his  merit  and  he  has  been  more  respected 
and  admired  than  any  of  the  modern  painters.  While  he 
was  alive  his  works  were  sold  at  prodigious  prices,  and 
they  still  retain  their  value  in  every  part  of  Europe.  They 
are  in  the  greatest  esteem  with  the  present  age  and  are 
likely  to  be  equally  sought  after  by  posterity.” 

— Pilkington’s  Dictionary  of  Painters. 


No.  114 — “The  Annunciation.” 

954x13  $4. 

From  collection  of  Amelio  Burce,  Director  of  Gallery, 
Florence,  Italy. 

“Joy  to  the  world,  the  Lord  is  come.”  Mary  kneeling 
while  a messenger  from  Heaven  is  represented  as  present- 
ing to  the  world  by  her  the  ‘Son  of  Rightousness,’  while 
the  angels  sing  the  glad  song,  “Peace  upon  earth,  good 
will  toward  men.  ’ The  colors  are  pleasing  and  the  sub- 
ject well  chosen. 


INDEX  AND  BIOGRAPHICAL  NOTES.  109 


No.  115 — “The  Wise  Men  and  The  Infant  Jesus.” 

11 54x14#. 

“Now,  when  Jesus  was  born  in  Bethlehem  of  Judea,  in 
the  days  of  Herod  the  King,  behold  wise  men  from  the 
east  came  to  Jerusalem.” 

Within  a lowly  stable  in  Bethelehem,  Mary  sits  holding 
the  infant  Jesus,  while  the  wise  men  of  the  east  and  the 
shepherds  are  gathered  around  her,  offering  precious  gifts 
to  the  child. 

The  light  of  Divine  Love  is  represented  as  shining  from 
above,  bringing  to  view  the  modest  surroundings,  and  the 
forms  and  figures  of  those  who  have  to  come  to  Offer 
homage.  The  figures  are  finely  proportioned  and  natural, 
arid  the  colors  fine  and  pleasing. 


MARILHAT  (Prosper).  . . ...  . . . . France. 

Born  at  Vertaizon,  near  Thiers  (Ruy-de-Dome),  1811. 

Died  there,  1847. 

Landscape  painter;  pupil  of  Roqueplan. 

“Recommended  by  his  master  as  the  artistic  companion 
of  Baron  Hugel,  he  visited  the  Levant  in  1831  and  spent 
a number  Of  years  in  Cairo,  where  the  climate  so.  ruined 
his  health  that  he  did  not  long  enjoy  the  fame  which 
awaited  him  on  his  return  to  Paris.  He  left  more  than 
two  hundred  unfinished  pictures.” 

— Cyclopedia  of  Painters  and  Paintings. 

No.  116— “The  Prophet’s  Tomb.” 

1 3#x9#.  • ' ; 'l; 

Supposed  to  be  the  tomb  of  the  prophet  Abou-Mandour* 
Around  the  tomb  have  congregated  some  Syrian  Arabs 
with  their  camels. 


110 


T.  B.  WALKER  COLLECTION. 


MAX  (Gabriel). 

Born  at  Prague,  1840. 

Pupil  of  Blaas,  Kurzbauer  and  Piloty. 
“Whenever  his  name  is  mentioned  by  the  writers  upon 
German  art  of  today,  his  power  and  originality  are  ad- 
mitted and  admired.  Many  of  his  works  are  tragic  in  the 
extreme.” 

— Clement  & Hutton’s  “Artists  of  the  Nineteenth  Century !’ 
“When  we  come  to  Gabriel  Max,  we  find  a genius,  to 
the  analysis  of  whose  masterly  conceptions  we  should 
much  prefer  devoting  a chapter  instead  of  a few  meager 
paragraphs.  In  respect  of  mental  grasp  and  imagination, 
combined  with  technical  ability,  we  should  give  this  first 
place  in  the  contemporary  Munich  school  to  Max  and 
Bocklin.  Artists  and  public  are  alike  agreed  upon  the  sur- 
passing character  of  Max’s  works.” 

— S.  G.  Benjamin,  “Contemporary  Art  in  Europe 
“First  exhibited  in  1867  and  has  since  acquired  a steadily 
increasing  fame.  Honorary  member  of  Munich  Academy, 
Professor  in  1879-83.  Gold  medals  in  Berlin  and  Munich.” 
— Cyclopedia  of  Painters  and  Paintings. 

In  a recent  work  published  in  1897,  called  “The  Madonna 
in  Art,”  giving  illustrations  of  thirty-one  of  the  great 
Madonnas  painted  from  the  earliest  ages  to  the  present 
time,  there  are  given  of  modern  paintings  one  by  Gabriel 
Max  and  one  by  Bouguereau.  The  one  by  Max  is  spoken 
of  as  follows: 

“Take,  for  instance,  the  portrait  Madonnas  by  Gabriel 
Max.  Here  are  no  details  to  divert  the  attention  from 
motherhood,  pure  and  simple.  We  do  not  ask  of  the  sub- 
ject whether  she  is  of  high  or  low  estate,  a queen  or  a 
peasant.  We  have  only  to  look  into  her  earnest,  loving 
face  to  read  that  here  is  a mother.  When  weary  with  the 
senseless  repetitions  of  the  set  compositions  of  past  ages, 
we  turn  with  relief  to  a simple  portrait  mother  like  this, 


INDEX  AND  BIOGRAPHICAL  NOTES.  Ill 


at  once  the  most  primitive  and  the  most  advanced  form 
of  Madonna  art.  It  is  only  another  case  where  the  simplest 
is  the  best.” 


No.  117 — “The  Treasures  of  Home.” 

31x24. 

i Represents  a mother  and  child.  One  of  the  most  re- 
fined, beautiful  and  harmonious  and  softly  toned  pictures 
that  has  been  produced  by  this  master  of  the  German 
school.  One  of  the  best,  if  not  the  best,  of  his  paintings. 


MICHELANGELO  (Buonarroti). 

Born  in  the  Castle  of  Caprese  in  Tuscany,  March  6,  1472. 

Died  in  Rome,  February  18,  1564. 

Studied  under  Domenico  Ghirlandaio  and  at  the  Acade- 
my in  the  Gardens  of  St.  Mark. 

Lorenzo  de  Medici  became  his  patron  and  give  the 
artist  a home  at  the  Medici  Palace,  where  he  did  much 
Work. 

“In  the  early  part  of  his  life,  he  not  only  applied  to 
sculpture  and  painting  but  to  every  branch  of  knowledge 
connected  with  the  arts.  As  a painter,  sculptor  or  archi- 
tect, he  attempted,  and  above  any  other  man,  succeeded 
to  unite  magnificence  of  plan  and  endless  variety  of  sub- 
ordinate parts,  with  the  utmost  simplicity  and  breadth. 
His  line  is  uniformly  grand;  character  and  beauty  were 
admitted  only  so  far  as  they  could  be  made  subservient 
to  grandeur. 

A beggar  rose  from  his  hand  the  patriarch  of  poverty; 
the  hump  of  his  dwarf  is  impressed  with  dignity;  his 
women  are  moulds  of  generation;  his  infants  teem  with 
the  man;  his  men  are  a race  of  giants.  . . . He  is  the 

inventor  of  epic  painting  in  the  sublime  compartments 


T.  B.  WALKER  COLLECTION. 


112 

of  the  Sistine  Chapel.  He  has  personified  motion  in  the 
groups  of  the  Cartoons  at  Pisa,  embodied  sentiments  op 
the  monuments  of  St.  Lorenzo,  unravelled  the  features 
of  meditation  in  his  prophets  and  sibyls;  and  in  the  ‘Last 
Judgment’,  with  every  attitude  that  varies  the  human  body, 
traced  the  master-trait  of  every  passion  that  > sways  the 
human  heart.  Such  was  Michel  Angelo,  the  salt  of  art.” 

— Pilkington’s  Diet,  of  Painters. 

“He  has  contributed  more  to  the  grandeur  of  design 
so  essential  to  both  painting  and  sculpture,  than  any  artist' 
that  has  ever  existed.” 

— Bryan's  Dist.  of  Painters  and  Engravers 

Mo.  1 18 — “The  Deluge.” 

: 14x21. 

From  the  collection  of  Lord  St.  Helens.  Painted  on  vel- 
lum and  with  an  old  oak  panel  for  a stretcher. 

This  picture  represents  a very  strange  but  appropriate 
view  or  idea  of  the  deluge,  with  the  waters  everywhere 
rising  pp-on  the  earth  and  driving  the  inhabitants  onto  the 
higher  grounds  and  thence  into  the  trees  to  escape  from 
the  jrising  .floods. 

The  drawing  and  designing  are  characteristic,  interest- 
ing and  finely  drawn.  It  is  not  intended  for  a finished, 
picture. 

Michel  Angelo  was  justly  rated  as  in  general  a poor 
colorist,  but  the  greatest  of  all  designers.  This  picture 
shows  fine  drawing  and  composition  and  is  interesting  and 
attractive  as  a composition  and  idea  of  the  greatest  of 
all  the  sculptors  and  designers  of  the  world.  , , 

MIGNARD  (Pierre). 

Born  at  Troyes,  1610.  - 

Died  in  Paris,  May  30,  1695. 

“French  school  of  portrait  and  allegorical  painters.  Pu-i 


INDEX  AND  BIOGRAPHICAL  NOTES.  113 

pil  of  Jean  Boucher  at  Bourges,  Vouet  in  Paris,  also  under 
Pierre  Gentil,  the  sculptor.  He  was  patronized  by  Urban 
'VIII.,  and  by  his  successors  to  Alexander  VII.,  whose 
portrait  he  painted,  and  distinguished  himself  un  that 
branch,  as  well  as  in  historical  subjects.  His  works  lay 
claim  to  our  approbation,  by  a correct  design,  a captivating 
amiability  in  his  forms,  and  an  harmonious,  if  not  vigorous, 
effect  in  his  coloring.  Several  of  his  pictures  have  been 
engraved  by  some  of  the  most  celebrated  of  the  French 
burinists,  among  which  are  Gerard,  Audran,  Poilly,  Roullet, 
Nahteuil,  etc.” 

— Bryan’s- Dictionary  of  Painters  and  Engravers. 

“His  pictures,  in  the  graceful,  dignified  style  of  Raffaelle, 
were  greatly  admired  at  Rome.  He  acquired  a distin- 
guished reputation  in  that  city  and  found  abundant  em- 
ployment. He  also  distinguished  himself  as  a portrait 
•painter  and  was  patronized  by  the  Popes  and  many  of  the 
nobility.  He  executed  many  works  for  the  churches.  He 
was  invited  back  to  Paris  by  Louis  XIV.,  and,  on  his  way, 
passing  through  Tuscany,  Modena  and  Parma,  he  was 
honored  by  the  princes  of  those  cities,  whose  portraits  he 
painted.  Louis  sat  to  him  ten  times  for  his  portrait,  and 
had  such  a respect  for  his  talents  that  he  ennobled  him. 
After  the  death  of  LeBrun  he  appointed  him  his  principal 
painters.” — Spooner’s  History  of  Fine  Arts. 

■ “He  painted  the  portraits  of  Urban  VIII.  and  of  Alex- 
ander VII.,  and  many  other  works,  including  frescoes  in 
churches.  In  1658  he  was. recalled  by  the  king  to  Fontaine- 
bleau, where  he  became  the  rival  of  LeBrun,.  to  whose 
honors  he  succeeded.  He  was.  court  painter,  the  director 
pf  the  Gobelins,  and  was  elected  on  the  same  day  member, 
rector,  chancellor,  and  directory  of  the  Academy.” 

— Cyclopedia  of  Painters  and  Paintings. 

“The  chief  portrait  painters  of  the  period  of  LouisXIV. 
were  Mignard,  who  was  also  a distinguished  painter  of 
fresco,  Rigaud,  Largilliere,  and  Francois  de  Troy.;  The 


114 


T.  B.  WALKER  COLLECTION, 


name  of  Mignard,  rendered  famous  by  LeBrun’s  rival  and 
successor,  Pierre,  is  also  illustrated  by  an  older  brother, 
Nicholas.  We  must  believe  history,  which  assigns  to  him 
a distinguished  talent,  as  well  as  the  abundant  evidence  of 
the  works  he  has  left.  He  was  born  a painter.  He  is  one 
of  the  large  number  of  conspicuous  artists  from  the  studio 
of  Vouet.  But,  in  spite  of  such  difficult  competition,  Mig- 
nard’s  won  him  reputation.  He  proceeded  to  other  cities 
of  Italy,  was  welcomed  with  honors  by  artists  and  rulers, 
and,  returning  to  Rome,  painted  Pope  Alexander  VII. 
But,  like  Vouet,  he  was  recalled  to  France  by  the  king, 
at  the  instigation  of  Mazarin,  and,  leaving  his  wife  and 
newly-born  son  at  Rome,  he  set  out  Oct.  10,  1657.  He  was 
received  in  the  prominent  towns  of  France  with  great 
honor:  at  Marseilles  by  the  First  Consul  of  the  city,  at  Aix 
by  the  President  of  the  Parlement,  at  Avignon  everybody 
aided  Mignard  ‘de  Avignon’  to  do  the  honor  to  Mignard 
Le  Romain.’  ” — History  of  French  Painting. 


No.  119 — “ Jean  Baptiste  Racine.’’ 

22x28. 

A distinguished  French  dramatist;  born  at  La  Ferte, 
Milan,  1639;  died  at  Paris,  1699.  His  first  tragedy,  the 
Thebaide  or  Les  Freres  Eunemis,  was  performed  by 
Moliere’s  troupe  at  the  Palais-Royale  in  1664.  His  first 
masterpiece  was  Andromaque,  which  on  its  performance 
in  1667,  produced  a profound  impression.  After  writing 
eight  or  ten  successful  pieces,  he  retired  from  the  theater 
in  1677,  owing  to  chagrin  at  hostile  critics.  However,  in 
1689  and  in  1691,  he  wrote  Esther  and  Athalie.  As  a 
dramatist,  Racine  is  considered  the  model  of  French  clas^ 
sical  tragic  drama. 


INDEX  AND  BIOGRAPHICAL  NOTES.  115 


MORAN  (Thomas) N.  A.,  New  York. 

Born  at  Bolton,  Lancashire,  England,  1837. 

Brought  to  America,  1844. 

Brother  of  Edward  and  Peter  Moran. 

Returned  to  Europe  1862  and  1866,  and  studied  the  works 
of  Turner  and  the  old  masters. 

Elected  N.  A.,  1884. 

Member  of  Society  of  American  Artists. 

No.  120 — “Sunrise  in  Mid-Ocean.” 

30x42. 

The  grand  old  ocean.  The  rising  sun  casting  its  mellow 
light  across  the  vast  expanse  shows  no  sail  in  sight,  only 
the  boundless  ocean  in  all  her  overpowering  grandeur  and 
loneliness.  In  the  center  of  the  picture  is  seen  the  “trough 
of  the  sea,”  while  on  the  left  the  great  waves  are  breaking 
into  fleecy  foam.  The  sunlight  glory  in  the  clouds  adds 
additional  enchantment  to  this  beautiful  canvas,  in  all  mak- 
ing this  one  of  the  best  maritime  pictures  in  the  world. 

No.  121 — “Venice  and  the  Palace  of  the  Doges.” 

50x32. 

Over  a long  vista  of  the  blue  waters  of  the  canal,  rises 
the  slender  spire  of  the  Palace  of  the  Doges.  On  the  left, 
buildirtgs  of  red  and  white  marble  tower  one  above  another, 
and  above  and  beyond  all,  two  shining  white  domes  seem 
like  silver  against  the  blue  sky.  The  blue  waters  of  the 
canal  comprise  the  entire  foreground,  while  on  either  side, 
some  very  warm  coloring  is  shown  in  the  introduction  of 
the  barges,  sail  boats  and  gondolas  which  ply  the  aqueous 
avenues  of  the  city.  Overhead  the  blue  sky  is  hazed  with 
a drift  of  thin,  light  clouds.  ' 


116 


T.  B.  WALKERS  COLLECTION. 


MORAN  (Edward) . . New  Yofk 

Born  in  England,  1829. 

Came  to  America,  1844; 

Member  of  the  Royal  Academy  of  London,  1862. 

Returned  to  the  United  States,  1869.  . , 

Elected  A.  N.  A.,  1873. 

Member  of  the  Pennsylvania  Academy  and  of  the 
Royal  Academy,  London. 

No.  122 — “A  Squall  on  the  English  Channel.” 

36^x24. 

In  the  center  of  the  picture  a packet  ship  is  rolling  in 
a high  sea.  In  the  distance  other  ships  are  seen  through 
the  gathering  gloom.  There  is  a fine  motion  in  the  glisten- 
ing water,  and  the  perspective  and  modeling  of  the  waves 
are  both  the  work  of  a conscientious  student  of  nature. 

MURILLO  (Bartholome  Esteban). 

Born  in  Seville,  January  1,  1618. 

Died  there,  April  3,  1682. 

Spanish  School.  Studied  under  Juan  del  Castillo. 

“The  fertility  of  his  talent,  only  paralleled  by  that  of 
Lope  de  Vega  in  literature,  enabled  him  to  cover  the  walls 
of  private  and  public  buildings  at  Seville  with  the  pictures 
now  scattered  all  over  Europe  at  prices  which,  to  the 
artist,  would  have  seemed  fabulous.” 

— Cyclopedia  of  Painters  and  Paintings. 

“Few  painters  have  a juster  claim  to  originality  of  style 
than  Murillo,  and  his  works  show  an  incontestable  proof 
of  the  perfection  to  which  the  Spanish  School  attained, 
and  the  real  character  of  its  artists — for  he  was  never  out 
of  his  native  country,  and  could  have  borrowed  little  from 


INDEX  AND  BIOGRAPHICAL  NOTES. 


1.17 


foreign  artists;  and  this,  originality  placed  him  in  the  first 
rank  among  the  painters  of  every  school.  All  his  works 
are  distinguished  by  a close  and  lively  imitation  of  nature. 
His  pictures  of  the  Virgin,  Saints,  Magdalenes,  and  even 
of  the 'Savior,  are  stamped  with  a characteristic  expression 
of  the  eye,  and  have  a natural  peculiarity  of  countenance 
and  habiliments  which  are  very  remarkable.  There  is 
little  of  the  academy  discernable  in  his  design  or  his  com- 
position. It  is  a chaste  and  faithful  representation  of 
what  he  saw  or  conceived;  truth  and  simplicity  are  never 
lost  sight  of;  his  coloring  is  clear;  tender  and  harmonious, 
and  though  it  possesses  the  truth  of  Titian  and  the  sweet- 
ness of  VanDyck,  it  has  nothing  of  the  appearance  of  im- 
itation. His  works  now  command  enormous  prices.” 

— Spooner’s  History  of  the  Fine  Arts .■ 
“With  the  work  of  this  admirable  artist,  the  English  col- 
lector is  more  intimately  acquainted  than  with  those  of 
any  painter  of  the  Spanish  School;  and  their  intrinsic 
merit  amply  justifies  the  admiration  which  is  bestowed- 
on  them.” — Bryan’s  Dictionary  of  Painters  and  Engravers. 

No.  123 — “The  Coronation.” 

39x52. 

From  the  Lord  Townsend  Collection. 

The  Virgin  Mary,  robed  in  spotless  white,  with  a blue 
mantle  thrown  over  her  shoulders,  is  represented  as  rising 
above  the  serpentine  devil  and  his  angels,  while  an'  angel 
of  God  places  Upon  her  head  a crown  of  twelve  stars,  and 
cherubs  bring  garlands  of  flowers  and  shout  with  joy.  The 
serpent  still  holds  in  his  mouth  the  apple  with  which  he 
had  tempted  , “the  first  man  Adam,”  and  with  which  he 
tempted  the  son  of  this  woman,  “the  second  man  Adam  who 
became  a living  spirit”  after  his  forty  days’  fast.  Here,  how- 
ever, his  subtlety  failed  and  one  was  found  “who,  being 
t.emptecl  in  like  manner  as  we  yet  sinned  not.”  The  horn 
in  prophecy  represents  Power,  and  the  great  horn  in  the 


118 


T.  B.  WALKER  COLLECTION. 


lower  corner  of  the  painting  no  doubt  is  emblematic  of 
the  Power  of  Satan  which  Jesus  destroyed. 

In  this  wonderful  painting,  Murillo  represents  faithfully 
what  'his  fertile  mind  conceived,  and  has  given  to  his 
figures  truth  and  simplicity,  and  although  his  coloring  is 
modest,  yet  it  is  clear,  tender  and  harmonious. 

MYTENS  (Daniel), 

Dutch  portrait  painter,  was  born  at  the  Hague  (at  the 
end  of  the  16th  century).  Died  after  1658. 

He  belonged  to  the  Dutch  school,  probably  studying  in 
the  school  of  Rubens,  as  he  imitated  that  master  in  his 
portraits  and  in  his  backgrounds.  He  went  to  England 
during  the  latter  part  of  the  reign  of  King  James.  His 
work  was  greatly  admired  and,  though  he  drew  several  of 
the  court,  he  was  not  formally  employed  as  painter  to  the 
King  until  the  first  year  of  the  reign  of  King  Charles. 
His  patent  was  dated  the  30th  of  May,  1625.  Sometime 
after  the  arrival  of  Vandyck  at  the  court  of  King  Charles, 
he  returned  to  the  Hague.. 

“He  had  studied  the  works  of  Rubens  previous  to  his 
coming  to  England.  His.  landscape  in  the  backgrounds  of 
his  portraits  is  evidently  in  the  style  of  that  school,  and 
some  of  his  works  have  been  taken  for  Vandyck’s. 

“He  painted  beautiful  copies  of  Raphael’s  cartoons. 
His  works  show  great  simplicity  of  manner,  lightness  of 
color,  and  silvery  flesh  tones.” 

— Encyclopedia  of  Painters  and  Paintings. 

No.  124 — “Henrietta  Maria,  Queen  of  Charles  I.” 

35x30. 

The  flesh  tints  in  this  beautiful  picture  are  true  and  life- 
like. Form  and  features  are  reproduced  in  finest  perfec- 
tion, attained  only  by  the  greatest  of  the  portrait  painters. 
And  in  the  costume  the  artist  has  a magnificence  of  color 
seldom  seen  on  canvas.  This  is  one  of  the  most  beautiful 
and  characteristic  of  this  noted  artist’s  work. 


INDEX  AND  BIOGRAPHICAL  NOTES.  119 

No.  125 — “King  Charles  I.” 

34x46. 

From  the  Collection  of  General  Bulwer. 

This  picture  was  painted  about  the  time  at  which  Queen 
Henrietta  Maria  was  painted  as  described  just  above. 
The  coloring  is  very  fine,  natural  and  satisfactory.  His 
portraits  of  men  were  colored  as  appropriately  as  the 
refined  and  more  delicate  coloring  which  he  gave  to  his 
portraits  of  women. 

This  pair  of  portraits  represents  a most  interesting,  cele- 
brated and  noted  couple  of  prominent  people  of  past  his- 
tory. In  some  respects  King  Charles  stood  out  as  promi- 
nently before  the  world  with  as  tragic  a life  as  to  make  a 
couple  who  jointly  formed  as  interesting  a pair  as  any 
king  and  queen  in  history.  And  we  can  rely  upon  these 
two  as  being  as  favorable  and  correct  a representation  of 
their  true  appeatance  and  character  as  any  historical  por- 
traits known. 

OPIE  (John). 

Born,  1761.  Died,  1807. 

“The  works  of  Opie  are  distinguished  by  great  simplicity 
in  the  composition,  masterly  boldness  of  effect,  and  uncom- 
mon strength  of  character,  though  sometimes  defective 
in  dighity,  and  faithful  expression  of  individual  nature. 
His  best  works  possess,  in  an  eminent  degree,  what  artists 
term  breadth.  Few  painters  have  shown  so  perfect  an  eye 
to  the  purity  of  color,  and  in  some  of  his  works  he  ap- 
pears to  have  emulated  the  rich  and  harmonious  tones  of 
Rembrandt  and  Titian;  and  even  Fuseli  says  that  nature 
had  endowed  him  with  an  exquisite  eye  for  color,  and  pro- 
nounces his  coloring  in  the  ‘Murder  of  James  I.’  unrivalled 
among  the  productions  of  his  contemporaries  and  ap- 
proaching the  excellence  of  Titian.  His  conduct  of  the 
chiaro-scuro  was  intelligent  and  masterly.’’ 

— Spooner’s  History  of  the  Fine  Arts. 


120  T.  B.  WALKER  COLLECTION. 

“The  pictures  he  painted  on  these  occasions  were 
amongst  the  most  admired  productions  of  the  British 
school.  The  works  of  Mr.  Opie  are  distinguished  by  a 
simplicity  in  the  composition^  ;masterly  boldness  of  effect, 
uncommon  strength,  though  not  dignity  of  character,  and 
a faithful  expression  of  individual  nature..  Few  painters 
have  shown  so  perfect  an  eye  to  the  purity  of  color;  and 
in  some  of  his  works  he  appears  to  have  emulated  the 
harmonious  toning  of  Rembrandt  and  Titian.  His  conduct 
of  the  chearioscuro  is  masterly  and  intelligent.  He  demon- 
strated by  his  works  how  highly  he  was  endowed  by  na- 
ture with  a strength  of  judgment  and  originality  of  con- 
ception. His  thoughts  were  always  new  and  striking,  ^s 
they  were  the  genuine  offspring  of  his  own  mind;  and  it 
is  difficult  to  say  if  his  conversation  gave  more  amusement 
or  instruction.  The  toils  and  difficulties  of  his  profession 
were  by  him  considered  as  matter  of  honorable  and  de- 
lightful contest;  and  it  might  be  said  of  him,  that  he  did 
not  so  much  paint  to  live  as  live  to  paint.” 

— Bryan's  Dictionary  of  Painters  and  Engravers.  ^ 

“His  best  work  was  in  portraiture.  He  became  an  A.  R. 
A.  in  1787  and  R.  A.  in  1788;  in  1805  he  was  chosen  profes- 
sor of  painting  in  the  Royal  Academy.” 

—Cyclopedia  of  Painters  and  Painting. 

“Untaught,  he  gained  proficiency  in  portrait  painting. 
Not  being  circumscribed  in  talent,  he  gained  great  success 
in  various  branches;  and  Boydell’s  Shakespeare,  Macklin’s 
Poets,  and  Bowyer’s  edition  of  Hume  soon  afforded  ample 
scope  for  Opie’s  abilities,  who  produced  upon  these  oc- 
casions some  of  the  best  specimens  of  the  English  school. 
His  best  pictures  possess  great  expansions,  his  coloring 
is  chaste  and  his  chiaro-scuro  perspicuous.” 

—Pilkington’s  Dictionary  of  Painters. 

“‘The  Cornish  Wonder’  grew  rich  and  fashionable, 
studied  diligently,  became  professor  at  the  Academy,  won- 
derfully improved  his  portraits,  and  extended  his  ambition 


INDEX  AND  BIOGRAPHICAL  NOTES.  121 

to  high  art,  where  his  best  effort  is  ‘The  Assassination  of 
Rizzio.’  To  him  belongs  that  often-quoted  anecdote  , of 
the  painter  who,  when  asked  with  what  he  mixed  his.  col- 
ors, replied,'  -With  brains,  sir,.” 

— -rRadcliffe’s  Schools  and  Masters,  of  Painting.- 
“As  an  artist,  his  works  prove  his  great  genius  and  origi- 
nal powers.  Later  his  compositions  were  more  simple, 
his  light  and  shade  better  understood,  and  his  works  have 
a vigorous  and  manly  strength  which  contrasts  with  the 
feeble  inanities  of  many  of,  his  contemporaries.” 

— Redgrave’s  Dictionary  of  Artists  of  the  English  School. 

No.  126 — “Portrait  of  a Gypsy  Girl,  Discovered  by 
Opie  While  Sketching  in  England.” 

33x25. 

From  the  sale  of  a fine  collection  of  Robinson  & 
Fisher’s,  of  London. 

PARTON  (Arthur),  . . ’ ■ ! .....  New  York. 

Born  at  Hudson,  N.  Y.,  1842. 

Landscape  painter. 

Pupil  of  W.  T.  Richards,  of  Philadelphia. 

Visited  Paris  and  London  187^0,  and  sketched  in 
Scotland  the  following  summer. 

Elected  an  A.  N.  A.  in  1873. 

N.  A.'  in  1884. 

Studio  in  New  York. 

No.  127 — “New  England  Homestead  on  a Stormy 
Morning.” 

; • 27^x17^/ 

This  landscape  takes  one  right  into  the  heart  of  na- 
ture. Fine,  sturdy  trees  stand  boldly  out  against  lower- 


122 


T.  B.  WALKER  COLLECTION. 


ing  clouds,  indicative  of  the  approaching  shower.  The 
rendering  of  the  foliage  is  very  minute,  and  the  atmo- 
spheric effects  and  feeling  of  the  lull  before  the  shower 
are  cleverly  and  suggestively  realized.  There  is  a sense 
of  subdued  sentiment  and  a true  inspiration  of  the  poetry 
of  nature. 

No.  128 — “A  Scene  in  the  Delaware  Valley.” 

19x24. 

This  picture  represents  a peaceful  scene  in  Delaware. 
In  the  foreground  is  the  river,  while  in  the  center  of  the 
picture,  and  stretching  away  to  the  left,  is  a clump  of 
trees  which  cast  their  dark  shadows  on  the  still  water. 
Several  cows  are  introduced  into  the  center  of  the  paint- 
ing; and  through  the  green  foliage  of  the  trees  one  gets 
a glimpse  of  fleecy  clouds  in  a blue  sky. 

PEALE  (Rembrandt) America. 

Son  of  Charles  W.  Peale. 

Born  in  Bucks  County,  Pa.,  1778;  died,  1860. 

Washington  sat  to  Peale  for  his  portrait,  when  the 
artist  was  only  eighteen.  In  later  life,  by  careful  use  of 
the  studies  made  of  his  illustrious  sitter,  Peale  painted 
this  portrait. 

“Rembrandt  Peale  obtained  a permanent  reputation  for 
his  very  able  and  truthful  portrait  of  Washington.  He  be- 
stowed the  best  efforts  of  his  mature  years,  and  it  re- 
ceived the  compliment  of  being  purchased  by  Congress  for 
$2,000 — a large  sum  for  an  American  painting  in  those 
days  when  the  purchasing  power  of  money  was  greater 
than  it  is  now.” — Benjamin’s  Art  in  America. 

Extract  from  Peale’s  lecture  on  “Washington  and  His 
Portrait:” 

“Washington  gave  me  three  sittings.  At  the  first  and 


INDEX  AND  BIOGRAPHICAL  NOTES.  123 


second,  my  father’s  painting  and  mine  advanced  well  to- 
gether; being  at  my  right  hand,  his  was  a little  less  full 
than  mine.  In  the  third  sitting,  perceiving  that  he  was 
beginning  to  repaint  the  forehead  and  proceed  downwards, 
as  was  his  custom,  I feared  he  would  have  too  little  time 
to  study  the  mouth  and  lower  part  of  the  face,  and  there- 
fore I began  at  the  chin  and  proceeded  upwards.  The  re- 
sult of  this  decision  was,  that  there  was  something  in  the 
upper  part  of  my  father’s  study  that  I preferred,  and  some- 
thing in  the  lower  portion  of  mine  which  better  satisfied 
me.  At  subsequent  periods  I made  several  studies  to  com- 
bine them.  To  profit  more  fully  by  the  occasion,  my 
uncle,  James  Peale,  during  the  second  and  third  sittings, 
painted  at  my  left  hand  a miniature  on  ivory,  and,  for  a 
time,  my  elder  brother  stood  beyond  my  uncle  to  make  a 
profile  sketch.  Mrs.  Washington  happened  to  enter  the 
room  at  the  moment,  and  being  amused  by  the  circum- 
stances, mentioned  it  to  Stuart,  who  jocularly  told  her 
she  must  take  good  care  of  her  husband,  as  he  was  in 
danger  of  being  peeled  all  round. 

“Washington  gave  me  three  sittings  of  three  hours  each, 
from  seven  to  ten.  By  these  early  visits  I had  the  advan- 
tage of  seeing  his  hair  in  a more  natural  manner  than  the 
harber  arranged  it,  wig-fashion,  after  ten  o’clock.  In  this 
particular,  the  hair  of  Col.  Trumbull’s  portrait  is  much 
more  easy  and  graceful,  as  he  probably  saw  it  in  the 
negligence  of  a camp.  He  shaved  himself  before  coming 
to  me,  and  the  powder  being  washed  from  the  whiskers 
in  front  of  his  ears,  showed  that  his  hair  was  dark  brown. 
What  there  was  of  gray  on  the  top  of  his  head  was  dis- 
guised with  powder;  yet  there  his  hair  was  abundant,  and 
the  plaited  hair  behind  was  long  and  clubbed,  to  which 
was  attached  on  days  of  state  ceremony,  in  dress  of  black 
velvet,  the  customary  appendage  of  a black  silk  bag. 

“My  portrait,  wet  from  the  easel,  was  packed  up  and 
in  a few  days  was  opened  in  Charleston,  where  I painted 


T.  B.  WALKER  COLLECTION. 


124 


ten  copies  of  it,  which  were  valued  as  the  most  recent 
likeness.  In  executing  these  I became  familiar  with  what- 
ever good  it  possessed;  but  also  became  still  more  sensi1 
tive  to  its  deficiencies. 

“After  the  death  of  Washington,  neither  satisfied  with 
my  father’s,  nor  Trumbull’s,  nor  Pine’s,  nor  Wertmuller’s, 
nor  Stuart’s,  nor  my  own,  I made  repeated  attempts  to  fix 
on  canvas  the  image  which  was  so  strong  in  my  mind,  by 
an  effort  of  combination,  chiefly  in  my  father’s  and  my 
own  studies.  I had  made  'during  several  years,  sixteen  of 
these  attempts;  and  though  not  equal  to  my  own  expecta- 
tion, they  all  found  satisfied  possessors.  I determined,  in 
1823,  to  make  a last  effort;  and  under  an  excitement, 
even  beyond  the  ‘poetic  frenzy’  which  controlled  me  dur- 
ing thfee  months  to  the  exclusion  of  every  other  thought, 
and  to  the  grief  of  my  father,  who  considered  it  a hopeless 
effort,  I succeeded  to  his  conviction.” 


No.  129 — “Portrait  of  General  Washington.” 

30x36. 

“Chief  justice  Marshall  and  others  always  declared  it 
the  best  likeness  of  Washington  ever  painted.” 

— Corcoran  Gallery  Catalogue. 

Mr.  Sutton,  of  the  American  Art  Galleries,  who  is  prob- 
ably the  most  competent  judge  in  this  country,  in  speaking 
of  this  portrait,  said: 

“You  may  say  for  me  that  I regard  this  as  the  finest 
portrait  of  Washington  in  existence.  I have  made  a spe- 
cial study  of  Washington’s  portraits  both  in  oil  and  en- 
gravings, and  have  a large  number  of  engraved  copies  by 
various  artists,  and  I consider  this  the  most  lifelike  and 
natural  of  all  Washington’s  portraits.  It  is  similar  to,  but 
better  than,  the  one  hanging  in  the  President’s  room  back 
of  the  Senate  Chamber  in  the  Capitol.” 


INDEX  AND  BIOGRAPHICAL  NOTES.  125 


PIOMBO  (Sebastiano  del). 

Born  in  Venice,  in  1485.  Died  in  Rome,  June  21,  1540. 

Venetian  school. 

Real  name,  Luciani.  Pupil  of  Giovanni  Dellini  and  after- 
wards of  Giorgione.  A contemporary  and  strong 
competitor  of  Raphael,  Michael  Angelo, 
Giorgione  and  Giovanni  Bellini. 

“Sebastiano,  under  the  guidance  of  Michael  Angelo,  who 
in  many  cases  supplied  him  with  designs,  executed  pic- 
tures which  to  some  eyes  equal  those  of  Raffaelle,  and 
after  the  death  of  the  latter,  won  him  the  name  of  the 
best  painter  in  Rome.” 

— Cyclopedia  of  Painters  and  Paintings. 
“Sebastiano  made  himself  especially  celebrated  as  a por- 
trait painter.  In  the  London  National  Gallery  are  two 
fine  specimens,  one  canvas  representing  the  Friar  himself, 
along  with  Cardinal  Ippolito  de  Medici;  another,  a por- 
trait of  a lady.  He  also  painted  Guilia  Gonzago,  Marcus 
Antonio  Colonna,  Vittoria  Colonna,  Ferdinand  Marcus 
Pescara,  Popes  Adrian  the  Sixth,  Clement  the  Seventh, 
Paul  the  Third,  etc.” — Encyclopedia  Britannica. 

“He  first  distinguished  himself  as  a portrait  painter,  to 
which  his  powers  were  peculiarly  adapted.  His  portraits 
were  boldly  designed  and  full  of  character.  The  heads 
and  hands  were  admirably  drawn  with  an  exquisite  tone 
of  coloring  and  extraordinary  relief.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“ ‘The  Flagellation  of  Christ/  at  the  Osservanti  of  Viter- 
bo, is  esteemed  the  best  picture  in  the  city.  Pictures  for 
private  rooms  and  portraits  he  painted  in  great  numbers 
and  with  comparative  ease;  and  we  nowhere  meet  with 
more  beautiful  heads,  more  rosy  flesh  tints  and  more 
novel  accessories  than  in  these.” 

— Luigi  Lanzi,  in  “History  of  Painting  in  Italy.” 
“He  first  studied  with  Giovanni  Bellini,  then  far  ad- 
vanced in  years,  and  afterwards  with  Giorgione,  and  be- 


126 


T.  B.  WALKER  COLLECTION. 


came  the  most  distinguished  disciple  of  his  school,  the 
most  successsful  imitator  of  the  harmony  of  his  coloring, 
the  breadth  of  his  Chiaro-scuro,  and  the  fulness  of  his 
forms.  He  first  distinguished  himself  as  a portrait  painter, 
to  which  his  powers  were  peculiarly  adapted.  His  por- 
traits were  admired  for  the  striking  resemblance,  the 
sweetness  of  the  coloring,  and  the  roundness  and  bold- 
ness of  relief,  which  made  his  figures  appear  to  stand 
out  from  the  canvas.” — Spooner’s  History  of  Fine  Arts. 

“ ‘The  Raising  of  Lazarus/  now  in  the  London  National 
Gallery,  was  painted  in  1517-19  for  Guilio  de  Medici,  then 
Bishop  of  Narbonne,  afterwards  Pope  Clement  VII.;  and 
it  remained  in  Narbonne  Cathedral  until  purchased  by 
the  Duke  of  Orleans  early  in  the  18th  century — coming 
to  England  with  the  Orleans  gallery  in  1792. 

“‘Raphael’s  Transfiguration’  was  painted  for  the  same 
patron  and  the  same  destination.  The  tw'O  works  were 
exhibited  together,  and  some  admirers  did  not  scruple  to 
give  the  preference  to  Sebastiano’s.” 

— Encyclopedia  Britannica. 


No.  130 — “Portrait  of  Vittoria  Colonna.” 

32x27 

From  the  Collection  of  the  Earl  of  Dudley. 

This  lady  is  referred  to  in  the  life  of  Michelangelo,  as  we 
find  it  in  the  British  Encyclopedia,  as  follows : “Soon  after 
wards,  Michaelangelo  made  the  acquaintance  of  the  pious, 
accomplished  and  high-souled  lady,  Vittoria  Colonna, 
widow  of  the  Marquis  Pescara.  For  twelve  years  until  her 
death,  which  happened  in  1547,  her  friendship  was  the 
great  solace  of  Michelangelo’s  life.  On  her  in  all  loyalty 
and  reverence,  he  poured  out  alll  the  treasures  of  his 
mind,  and  all  his  imprisoned  powers  of  tenderness  and 
devotion.  He  painted  her  a crucifixion  of  extraordinary 
beauty,  of  which  many  imitations,  but  not  the  original, 


INDEX  AND  BIOGRAPHICAL  NOTES.  127 


have  come  down  to  us.  She  was  the  chief  inspirer  of  his 
poetry,  in  which,  along  with  her  praises,  the  main  themes 
are  the  Christian  religion,  the  joys  of  Platonic  love  and 
the  power  and  mysteries  of  art.  Michelangelo’s  poetical 
style  is  strenuous  and  concentrated  like  the  man.  And 
so  the  mighty  sculptor,  painter  and  poet  reached  old  age. 
An  infirmity  which  settled  on  him  in  1544,  and  the  death 
of  Vittoria  Colonna,  in  1547,  left  him  broken  in  health 
and  heart.” 

This  picture  represents  one  of  the  most  refined  portraits 
by  the  strongest  competitor  and  contemporary  of  Raphael. 
Michelangelo,  Giorgione  and  Giovanni,  Bellini,  and  as  a 
portrait  painter,  perhaps,  at  least  equal,  if  he  did  not  excel, 
either  one  of  these  greatest  of  the  old  masters. 

POKITANOW  (Ivan). Russia. 

Born  at  Odessa,  Russia. 

Medals  at  Moscow  and  St.  Petersburg. 

This  painter  may  be  called  the  Meissonier  of  land- 
scape art. 

No.  131-—' “Sheep  on  the  Hills  at  Odessa.” 
11x7#. 

This  is  a beautiful  little  landscape,  perfect  in  every 
detail.  The  trees,  the  sheep,  the  grass-covered  hills,  and 
the  few  little  clouds  floating  across  the  sky,  are  all  painted 
with  the  utmost  nicety. 

PORBUS  (Francis,  Jr.). 

“A  skillful  painter  of  portraits  and  history,  a son  of 
Frans  the  elder,  was  born  at  Antwerp  in  1570.  He 
worked  mostly  in  Paris.  ‘His  picture  of  the  Last  Supper,’ 
says  the  Biographie  Universale,  ‘is  one  of  the  finest  pro- 
ductions of  the  Flemish  school.’  Died  in  Paris  in  1622.” 
— . Lippincott’s  Pronouncing  Biographical  Dictionary. 


128 


T.  B.  WALKER  COLLECTION. 


“He  painted  the  portraits  of  the  royal  family,  and  the 
most  distinguished  personages  of  the  court.  His  talents 
were  not  confined  to  portraits;  there  are  several  of  his 
pictures  in  the  churches  at  Paris,  which  establish  his  repu- 
tation as  a painter  of  history.  His  most  esteemed  per- 
formance is  the  ‘Last  Supper/  formerly  in  the  church  of 
St.  Leu,  now  in  the  gallery  of  the  Louvre;  it  is  a grand 
and  simple  composition,  the  figures  correctly  designed, 
and  the  coloring  rich  and  harmonious.  In  the  Hotel  de 
Ville,  are  two  pictures  by  Porbus  of  the  Minority  and 
Majority  of  Louis  XIII.,  which  he  has  treated  with  great 
ingenuity,  and  the  portraits  he  has  introduced  have  an 
admirable  appearance  of  truth  and  nature.  The  portrait 
of  Henry  IV.  was  formerly  in  the  collection  of  the  king 
of  France.  It  is  now  in  the  French  Museum.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“Flemish  school;  history  and  portrait  painter,  son  and 
pupil  of  Frans  the  elder.  Free  of  the  guild  in  1591;  for 
sometime  in  Brussels,  from  1600  court  painter  to  Vincenzo 
I.,  Gonzaga  at  Mantua,  then  from  1610  flourished  at  the 
court  of  Henry  IV.  of  France,  and  painted  various  pic- 
tures of  that  monarch  and  his  queen.” 

— Cyclopedia  of  Painters  and  Paintings. 

“He  acquired  great  distinction,  and  painted  the  por- 
traits of  the  royal  family  and  many  of  the  most  distin- 
guished personages  of  the  court.  His  talents  were  not 
confined  to  portraits,  and  he  executed  several  works  for 
the  churches,  which  obtained  for  him  a high  reputation 
as  a historical  painter.  He  surpassed  his  father  in  ele- 
gance and  grace,  and  in  the  noble  simplicity  of  his  dra- 
pery. His  design  was  remarkably  correct  and  his  coloring 
rich  and  harmonious.” 

— Spooner’s  History  of  the  Fine  Arts. 


INDEX  AND  BIOGRAPHICAL  NOTES.  129 


No.  132 — “Portrait  of  Maria  DeMedici  in  Her 
Twenty-Second  Year.” 

25x20. 

From  the  Collection  of  Baron  de  Bourneville,  of  Paris. 
One  of  the  characteristic  and  important  portraits  of  this 
master  of  the  Flemish  school.  The  picture  is  well  pre- 
served, beautifully  painted  and  makes  a very  attractive 
example  of  this  artist’s  work. 

PYNE  (James  Baker) Bristol,  England. 

Born  at  Bristol  in  1800. 

An  able  English  landscape  painter. 

Became  a resident  of  London  about  1835. 

Visited  Italy  and  Switzerland  in  1846. 

For  many  years  Vice-President  of  the  Society  of  British 
Artists. 

Died  in  1870. 

“Was  a master  of  certain  peculiar  atmospheric  effects, 
and  his  pictures  are  remarkable  for  their  delicate  aerial 
perspective.  Among  his  best  works  are  ‘A  View  on  the 
Avon,’  ‘The  Palace  of  the  Ceasars,’  ‘Lago  Maggiore,’ 
‘Castle  of  Ischia,’  ‘Venice,’  and  ‘Heidelberg.’” 

— History  of  the  British  School  of  Painters. 

“His  works  that  have  survived  the  pillage  of  years, 
are  still  in  demand  in  England.  He  painted  after  the 
manner  of  Turner,  and  his  pictures,  when  fresh,  were  very 
beautiful  in  tone,  and  sold  readily  for  good  prices.” 

— Dr.  Thomas. 

No.  1 33 — “A  Farm  Scene  in  England.” 

13x10. 

A clump  of  trees  to  the  left  of  the  center,  with  a road- 
way to  the  right.  On  the  road-side  are  a couple  of  farm 


130 


T.  B.  WALKER  COLLECTION. 


houses,  with  a tract  of  woodland  beyond.  To  the  right 
of  the  center  a broad  stretch  of  table  land,  with  sheep 
lying  idly  in  the  fields.  In  the  foreground  two  children 
are  playing  over  the  trunk  of  a fallen  tree. 

A Softly  colored,  bluish  tinted,  misty  landscape,  much 
in  the  style  of  Turner’s  middle  period  pictures. 

This  picture  is  from  the  collection  of  Lord  Jersey. 


No.  13d — “Canalazzo  and  the  Bridge.” 

25x35. 

On  the  left  are  some  splendid  trees  in  whose  shadow 
lies  a bevy  of  small  fishermen’s  boats  and  gondolas.  Be- 
yond a bridge  spans  the  canal,  while  still  farther  to  the 
right  are  seen  the  spires  and  domes  of  numerous  churches 
and  temples.  The  rays  of  the  setting  sun  add  glory  and 
color  to  clouds  and  sky,  making  a delicate  background  for 
a richly  colored  painting. 


RAEBURN  (Henry). 

Born  in  1756,  died  in  1823. 

“Son  of  a Scotch  clergyman,  was  as  highly  esteemed  in 
Edinburgh  as  Sir  Joshua  Reynolds  had  been  in  London. 
He  was  overwhelmed  with  sitters,  and  has  left  much  of 
the  fruit  of  his  labor  in  the  Edinburgh  Academy,  which 
has  preserved  his  portraits  of  Sir  Walter  Scott,  Dugald 
Stewart,  Francis  Jeffery,  and  many  other  eminent  Scotch- 
men. His  style  was  manly,  broad  and  forcible,  and  his 
merits  were  so  justly  appreciated  that  he  was  knighted 
by  George  IV.  and  appointed  royal  painter.” 

— Radcliffe’s  Schools  and  Masters  of  Painting. 

“Both  his  art  and  his  society  were  esteemed.  He  was 
surrounded  by  friends,  and  painted  the  most  distinguished 
of  his  northern  countrymen.  He  paid  only  short  visits 


INDEX  AND  BIOGRAPHICAL  NOTES.  131 


to  London  and  knew  little  of  the  art  or  the  artists  of  the 
metropolis.  But  honors  fell  thick  upon  him  in  his  native 
city.  In  1812  he  was  elected  president  of  the  Society  of 
Artists  in  Scotland;  in  1813  an  associate  of  the  Royal 
Academy,  London,  and  the  following  year  an  academi- 
cian. He  held  undisputed  pre-eminence  in  art,  and  was 
surrounded  by  friends.” 

— Redgrave’s  Dictionary  of  Artists  of  the  English  School. 

“He  became  distinguished  as  a portrait  painter,  though 
he  also  exhibited  a few  historical  pieces  at  the  Royal 
Academy  in  London,  of  which  he  was  a member.  Of  that 
of  Edinburgh,  he  was  chosen  president  and,  when  George 
the  Fourth  visited  his  northern  capital,  the  honor  of 
knighthood  was  conferred  upon  him,  and  he  subsequently 
received  the  appointment  of  first  portrait  painter  to  the 
king  in  Scotland.  He  was  equally  remarkable  for  correct- 
ness of  drawing,  freedom  of  penciling,  brilliancy  of  color- 
ing and  a personification  of  character  not  less  vigorous 
than  graceful.  He  possessed  the  rare  faculty  of  produc- 
ing in  every  instance  the  most  striking  and  agreeable 
likeness,  and  of  indicating  intellectual  expression  and  dig- 
nity of  demeanor  wherever  they  appeared  in  the  original; 
often  approaching  in  his  portraits  to  the  elevation  of 
historical  paintin g.”~Pilkington’s  Dictionary  of  Painters. 

“For  years,  application,  improvement  and  success  went 
hand  in  hand;  and  he  might  reckon  the  greater  part  of 
the  distinguished  men  of  Scotland  of  his  time  among  his 
sitters  and  friends.  In  1814,  he  became  an  associate  of 
the  Royal  Academy,  and  in  the  following  year,  R.  A.,  it 
is  said,  without  the  usual  humiliating  solicitation.  Raeburn 
could  represent,  with  the  force  of  truth,  men  of  intellect 
and  genius,  but  could  not  condescend  to  the  frivolities  of 
fashion.  His  power  lay  in  depicting  the  mind,  not  the 
decorative  paraphernalia  of  the  coxcomb,  or  the  millinery 
and  affected  air  of  the  beauties  of  the  salon  or  drawing 
room.” — Bryan’s  Dictionary  of  Painters  and  Engravers. 


132 


T.  B.  WALKER  COLLECTION. 


“Raeburn  was  fortunate  in  the  time  in  which  he  prac- 
tised portraitures.  Sir  Walter  Scott,  Blair,  Mackenzie, 
Woodhouselee,  Robertson,  Home,  Ferguson  and  Dugald 
Stewart  were  resident  in  Edinburgh,  and  they  were  all, 
along  with  a host  of  others  less  celebrated,  immortalized 
on  the  painter’s  canvas.  Professional  honors  fell  thick 
upon  him.  In  1812  he  was  elected  president  of  the  Society 
of  Artists  in  Edinburgh,  in  1814  Associate  and  in  the  fol- 
lowing year,  full  membership  of  the  Royal  Academy.  In 
1822  he  was  knighted  by  George  IV.  and  appointed  his 
Majesty’s  limner  in  Scotland.  In  his  own  day,  the  por- 
traits of  Raeburn  were  excellently  and  voluminously  en- 
graved by  the  last  members  of  the  great  school  of  Eng- 
lish mezzotint.  He  had  the  power  of  producing  a telling 
and  forcible  likeness;  his  productions  are  distinguished 
by  breadth  of  effect,  by  admirable  force  of  handling,  by 
execution  of  the  swiftest  and  most  resolute  sort.  Wilkie 
has  recorded  that  while  traveling  in  Spain  and  studying 
the  works  of  Velasquez,  the  brush-work  of  that  master 
reminded  him  constantly  of  the  ‘square  touch’  of  Rae- 
burn.”— Encyclopedia  Britannica. 

“In  1780,  he  set  up  as  a portrait  painter  in  Edinburgh. 
He  soon  won  high  rank  in  his  art,  was  elected  in  1812 
president  of  the  Society  of  Artists  in  Scotland,  and  in  1813 
an  A.  R.  A.  and  in  1815  R.  A.  On  the  visit  of  George  IV. 
to  Edinburgh,  in  1822,  he  was  knighted  and  the  next  year 
he  was  appointed  his  majesty’s  limner  for  Scotland.  Nine 
of  his  portraits  are  in  the  National  Gallery,  Edinburgh, 
and  four  in  the  National  Portrait  Gallery,  South  Kensing- 
ton.”— Cyclopedia  of  Painters  and  Paintings. 

“Through  life  he  discharged,  with  blameless  attention, 
all  the  duties  of  a good  citizen.  His  pencil  never  kept  him 
from  his  place  in  church  on  Sunday  and  in  the  days  of 
trouble  he  was  a zealous  volunteer.  First  and  last,  among 
all  the  children  of  art,  no  one  was  ever  more  widely  re- 
spected than  Sir  Henry  Raeburn;  and  his  tall,  handsome 


INDEX  AND  BIOGRAPHICAL  NOTES.  133 


figure,  and  fine,  open,  manly  countenance  will  not  be  for- 
gotten for  many  a day  in  ‘the  place  which  knew  him.’ 
His  merits  as  a portrait  painter  are  very  great.  He  aimed 
at  elevation  and  dignity  of  style;  he  desired  to  bring  out 
the  mental  qualities  of  his  sitters,  and  considered  the  nice 
detail  of  the  features  as  unworthy  of  a work  of  art.  The 
distant  view  he  took  presented  nature  to  him  in  its  grand- 
est expression;  and  he  caught  the  ruling  passion  of  the 
face  by  taking  the  broad  result  and  not  the  detail.  By 
neglecting  the  lesser  features,  all  subordinate  expression 
was  sunk;  it  was  the  application  of  the  historical  style  for 
humble  purposes  and  Raeburn  may  be  accused  of  con- 
ferring intellectual  dignity  upon  heads  unworthy  of  such 
honor.  One  of  his  greatest  triumphs  is  in  his  last  portrait 
of  Sir  Walter  Scott;  the  face  of  this  illustrious  man  is 
far  from  expressing  his  powers  when  you  are  at  his  elbow; 
but  the  distance  at  which  Raeburn  sought  the  character 
lent  enchantment  at  once,  and  in  the  light  and  shade  of 
his  masses,  the  author  of  ‘Marmion’  and  ‘Old  Mortality’ 
appeared.” — Cunningham’ s “ The  British  Painters.” 

No.  135 — “Portrait  of  James  McGregor.” 

30x28. 

Purchased  by  Thomas  McLane,  of  London,  from  the 
McGregor  family.  A very  realistic  and  beautifully  painted 
portrait  of  a man  well  known  in  his  times,  but  not  a con- 
spicuous personage,  yet  a member  of  a very  reputable 
family  of  England. 

No.  136— “The  Duke  of  Sussex.” 

25x30. 

. “Augustus  Frederick  Wilhelm  Heinrich,  prince  of 
Prussia;  born  1779;  died  1843.  Was  a nephew  of  Frederick 
the  Great.  He  fought  at  Jena  in  1806,  having  obtained 
in  1813  the  rank  of  Lieutenant  General;  he  displayed  skill 
and  courage  at  Dresden,  Kulm  and  Leipsic.” 


134 


T.  B.  WALKER  COLLECTION. 


This  splendid  portrait  is  characteristic  of  this  noted 
Scottish  painter,  and  considered  among  the  best  of  his 
productions. 


RAPHAEL. 

Born  at  Urbino,  April  6,  1483.  Died  in  Rome,  April  6, 

1520. 

Umbrian  and  Roman  school. 

“Eager  only  to  perfect  his  work,  and  incapable  of  jeal- 
ousy, he  studied  the  grandiose  style  of  Michelangelo  and 
the  rich  color  Of  Sebastiano  del  Piombo,  that  he  might 
improve  his  own  style  and  color,  and  to  the  day  of  his. 
death  achieved  ever-increasing  excellence. 

“An  unrivalled  skill  in  composition,  an  added  power  of 
expression,  an  increased  grandeur  of  style,  an  improve- 
ment in  the  use  of  color,  a mastery  of  portraiture  arid  a 
perception  of  ideal  beauty  culminates  in  the  Madonna  di 
San  Sisto.  Nor  mrist  we,  in  speaking  of  this  great  paint- 
er’s life-work,  forget  to  mention  the  immense  number  of 
exquisite  studies  and  designs  in  pen  and  ink,  silver  point, 
pencil  and  chalk,  which  constitute  by  no  means  the  least 
precious  part  of  the  world’s  inheritance  from  the  Prince 
of  Painters.” — Cyclopedia  of  Painters  and  Paintings. 

“This  illustrious  artist  has,  by  the  general  approbation 
of  mankind,  been  styled  the  prince  of  painters,  and  is 
universally  acknowledged  to  have  possessed  a greater 
combination  of  the  higher  excellencies  of  the  art  than  has 
fallen  to  the  lot  of  any  other  individual. 

“If  it  is  allowed  that  the  noblest  object  of  the  art  is 
not  to  accomplish  that  which  merely  pleases  the  eye,  but 
that  which  satisfies  the  mind,  and  secures  the  approbation 
of  the  intelligent,  Raffaelle  must  be  regarded  the  greatest 
artist  with  those  works  we  are  acquainted,  as  he  may  be 
said  to  have  surpassed  in  this  branch  everything  he  could 
have  seen,  either  ancient  or  modern,  and  as  nothing  has 


INDEX  AND  BIOGRAPHICAL  NOTES.  135 


appeared  since  that  can  dispute  his  title  to  that  pre-emin- 
ence.”—Rryaw's  Dictionary  of  Painters  and,  Engravers. 

‘‘When  we  consider  the  immense  field  over  which  his 
labors  were  spread  and  the  strong  personal  individuality 
which  appears  in  all  these  varied  branches  of  art,  together 
with  the  almost  incredible  number  of  paintings  that  issued 
from  his  studio,  it  will  be  seen  that  he  must  have  labored 
with  an  amount  of  unflagging  industry  which  has  perhaps 
never  been  surpassed. 

“Among  all  the  painters  of  the  world,  none  has  been 
so  universally  popular  as  Raphael  or  has  so  steadily  main- 
tained his  pre-eminent  reputation  throughout  the  many 
changes  in  taste  which  have  taken  place  in  the  last  three 
centuries  and  a half.  Apart  from  his  combined  merits  as 
a draughtsman,  colorist,  and  master  of  graceful  compo- 
sition, he  owes  the  constancy  of  admiration  which  has 
been  felt  for  him,  partly  to  the  wide  range  of  his  subjects, 
but  still  more  to  the  wonderful  varieties  of  his  style. 

“In  versatility  of  power,  Raphael  (as  a painter)  remains 
almost  without  a rival.” — Encyclopedia  Britannica. 

“He  excelled  in  portrait,  as  well  as  in  history,  and  by 
his  pencil  immortalized  the  Popes  Julius  II.  and  Leo  X., 
with  many  of  the  cardinals,  representing  them  with  such 
life  and  nature,  dignity  of  character  and  expression  as 
surpasses  the  power  of  description.  The  portrait  of  the 
first  of  these  popes  is  now  in  the  British  National  or 
Royal  Gallery.  He  finished  his  pictures,  especially  those 
in  oil,  exquisitely,  and  took  every  care  to  give  them  the 
utmost  perfection,  and  yet  he  is  said  to  have  been  very 
expeditious  in  his  method  of  working.” 

— Pilkington’s  Dictionary  of  Painters. 

“Let  it  be  always,  remembered  that  the  excellence  of 
his  style  is  not  on  the  surface,  but  lies  deep,  and  at  first 
view  is  seen  but  mistily.  It  is  the  florid  style  which 
strikes  at  once,  and  captivates  the  eye  for  a time,  without 
ever  satisfying  the  judgment.  Nor  does  painting  in  this 


136 


T.  B.  WALKER  COLLECTION. 


respect  differ  from  other  arts;  a just  poetical  taste  and 
the  acquisition  of  a nice  discriminative  musical  ear,  are 
equally  the  work  of  time.” 

— Joshua  Reynold’s  Review  of  Raphael. 

- “General  opinion  has  placed  Raphael  at  the  head  of  his 
art,  not  because  he  possessed  a decided  superiority  over 
every  other  painter  in  every  branch,  but  because  no  other 
artist  ever  united  with  his  own  peculiar  excellence  all  the 
other  parts  of  the  art  in  an  equal  degree  with  him.” 

—Fuseli. 

“Is  the  third  and  greatest  in  the  quartet  of  acknowl- 
edged world  masters  of  painting.” 

— Hoyt’s  Historic  Schools  of  Painting. 

“The  name  of  this  illustrious  Italian  painter  is  variously 
spelled:  by  the  Italians,  Raffaelle;  by  the  French,  Raphael 
or  Raffaello;  by  the  Germans,  Rafael;  by  the  old  English 
writers,  Raphael,  and  the  moderns,  Raffaele. 

“By  the  general  approbation  of  mankind,  Raffaelle  has 
been  styled  the  prince  of  painters,  and  he  is  universal- 
ly acknowledged  to  have  possessed  a greater  combination 
of  the  higher  excellencies  of  art  than  has  ever  fallen  to 
the  lot  of  any  other  individual.  He  has  had  severe  critics, 
but  more  able  defenders.  It  has  been  remarked  by  Sir 
Joshua  Reynolds  and  other  authors,  as  well  as  by  many 
travelers,  as  a remarkable  fact,  that  the  most  capital  fres- 
coes of  Raffaelle  in  the  Vatican  do  not  at  first  strike  the 
beholder  with  surprise,  nor  satisfy  his  expectations;  but, 
as  he  begins  to  study  them,  he  constantly  discovers  new 
beauties,  and  his  admiration  continues  to  increase  with 
contemplation.” — Spooner’s  History  of  the  Fine  Arts. 

No.  137 — “Portrait  of  Pope  Julius  II.” 

From  the  Collection  of  Sir  Cecil  Miles. 

43x33. 

Dr.  Waagen,  Director  of  the  Royal  Gallery  of  Pictures 


INDEX  AND  BIOGRAPHICAL  NOTES.  137 


m Berlin,  in  his  celebrated  volume,  published  in  1854, 
entitled  “Art  Treasures  in  Great  Britain,”  in  Vol.  3,  page 
178,  says  of  Leigh  Court,  “On  my  first  sojourn  in  England, 
1835,  the  fame  of  the  pictures  belonging  to  J.  P.  Miles, 
Esq.,  mainly  induced  me  to  visit  that  part  of  the  country; 
and  though,  from  the  hurried  manner  in  which  I was 
driven  through  the  rooms,  I saw  them  to  great  disad- 
vantage, yet  I had  time  enough  to  convince  myself  that 
they  far  exceeded  the  expectations  I had  formed.  The 
collection,  indeed,  contains  a series  of  fine  works  by  the 
most  eminent  Italian,  Flemish,  Spanish,  and  French  mas- 
ters, which  would  grace  the  palace  of  any  monarch.  I 
was,  therefore,  the  more  glad,  on  a later  occasion,  to  avail 
myself  of  the  kindness  of  Mr.  Harford,  who,  being  ac- 
quainted with  the  family,  drove  me  over  to  Leigh  Court, 
when  I enjoyed  the  liberty  of  inspecting  the  pictures  at 
my  leisure.  I am,  therefore,  now  better  qualified  to  give 
a fuller  and  more  exact  account  of  them.” 

And  in  describing  in  particular  this  painting  of  Raphael’s, 
“Pope  Julius  II.,”  says,  “I  would  not  mention  this  picture, 
of  which  there  are  such  numerous  repetitions,  were  it  not 
different  from  all  that  I have  seen  and  extremely  excellent. 
The  features  are  not  so  large  and  the  genuine  Italian  nose, 
in  particular,  is  more  finely  formed.  The  treatment  is 
masterly.  On  panel.” 

A duplicate  or  replica  portrait  of  a well  known,  promin- 
ent person  is  not  regarded  the  same  as  a replica  of  an 
ornamental  picture  like  a landscape  or  figure  piece,  as 
many  of  the  great  artists  have  reproduced  without  dis- 
credit portraits  of  prominent  personages,  which  portraits 
are  all  regarded  as  originals.  The  portrait  of  Pope  Julius 
in  the  National  Gallery  in  London  is  spoken  of  by  Dr. 
Waagen  as  “a  reproduction  from  the  Falconieri  Palace, 
and  as  is  often  the  case  with  copies,  is  defective  in  keep- 
ing, the  forehead  appears  too  light  compared  with  the 
dark  heavy  tones  of  the  other  parts  of  the  face.” 


138 


T.  B.  WALKER  COLLECTION. 


This  Leigh  Court  picture  was  painted  on  a heavy  oak 
panel  over  an  inch  and  a quarter  in  thickness  and  which 
panel  was  so  badly  eaten  by  the  worms  that  it  was  only  a 
shell,  being  absolutely  honeycombed  through  the  paint. 
The  panel  was  cut  away  to  about  one-half  an  inch  in 
thickness  in  order  to  straighten  and  cradle  it,  which  was 
done  after  the  picture  came  into  the  possession  of  the 
present  owner.  It  has  always  been  known  in  England  as 
an  original  painting  by  Raphael  and  as  pronounced  by  Dr. 
Waagen,  “different  from  all  others  that  I have  seen  and 
extremely  excellent.” 


RAU  (Emil) Munich 

“Mention  Honorable”  at  the  Royal  Academy,  Berlin,  1886. 
Medal  at  Vienna. 


No.  138 — “The  Return  of  the  Light  Cavalry.’’ 

30x38^2. 

A spruce  young  cavalryman,  in  all  the  splendor  of  uni- 
form, is  making  the  most  of  his  short  stay.  He  has  a girl 
on  each  arm,  and  is  laughing  and  jesting  to  the  height  of 
his  bent.  The  green-eyed  serpent,  however,  is  making 
things  dark  for  the  brunette  on  his  left,  judging  from  the 
lowering  look  she  gives  her  laughing  companion.  But 
the  blonde  on  his  right  smiles  up  into  his  face,  laughingly 
oblivious  of  the  soldierly  arm  that  encircles  her  waist. 

Mr.  J.  H.  Thompson,  of  Minneapolis,  says:  “I  con- 

sider this  one  of  the  finest  and  most  striking  pictures  in 
the  world.  I have  seen  many  public  and  private  galleries 
in  this  country  and  Europe,  but  I never  saw  a picture 
that  I consider  any  better  than  this  one.” 


INDEX  AND  BIOGRAPHICAL  NOTES. 


139 


REMBRANDT  (Van  Rijn). 

Born  in  Leyden,  on  the  15th  of  July,  1607. 

Died  October  8th,  1669. 

Studied  under  Swanenburch,  a relative  of  his  family,  and 
afterwards  under  Pieter  Lastmann,  a painter  of  great 
merit  and  high  standing. 

“One  of  the  greatest  painters  the  world  has  seen.” 

“Rembrandt’s  high  position  in  European  art  rests  on 
the  orginality  of  his  mind,  the  power  of  his  imagination, 
his  profound  sympathy  with  his  subjects,  the  boldness  of 
his  system  of  light  and  shade,  the  thoroughness  of  his 
modelling,  his  subtle  color,  and  above  all  on  the  intense 
humanity  of  the  man.  He  was  great  in  conception  and  in 
execution,  a poet  as  well  as  a painter,  an  idealist  and  also 
a realist;  and  this  rare  union  is  the  secret  of  his  power. 
From  his  dramatic  action  and  mastery  of  expression, 
Rembrandt  has  been  well  called  ‘the  Shakespeare  of  Hol- 
land’.”— Encyclopedia  Britannica. 

“In  the  early  part  of  his  life  he  finished  his  pictures 
nearly  as  highly  as  those  of  Gerard  Dow,  but  with  a more 
spirited  pencil,  and  a richer  tone  of  coloring.  He  after- 
wards adopted  a greater  breadth  of  light  and  shadow,  and 
a more  commanding  facility  of  touch. 

“He  now  became  the  most  distinguished  and  the  most 
employed  artist  of  his  country,  and  was  not  less  celebrated 
for  his  extraordinary  productions  as  a painter,  than  for  his 
ingenious  and  interesting  engravings  which  were  also 
held  in  the  highest  admiration.  He  continued  to  practice 
his  art  with  the  most  flattering  encouragement  and  suc- 
cess, until  the  year  1674,  when  he  died  at  Amsterdam,  aged 
68.” — Bryan  s Dictionary  of  Painters  and  Engravers. 

“His  style  of  painting,  in  the  first  years  of  his  practice, 
was  very  different  from  that  of  his  later  time;  for  his  early 
performances  were  finished  highly,  and  with  a neat  pencil, 
resembling  those  of  Mieris;  but  he  afterwards  assumed 


140 


T.  B.  WALKER  COLLECTION. 


a style  of  coloring  and  handling  as  opposite  to  it  as  possi- 
ble— strong,  bold  and  with  a degree  of  astonishing  force, 
in  which  he  has  not  been  excelled  by  any  artist,  though 
Eckhout  and  some  of  his  best  disciples  have  approached, 
very  near  him. 

“As  he  advanced  in  the  art  he  took  liberties  with  the 
pencil,  wrought  with  all  the  broad  fullness  of  the  brush, 
and  left  the  touch  undisturbed;  he  even  employed  the 
stick,  the  palette-knife,  or  his  fingers  accordingly  as  they 
were  most  capable  of  producing  the  effect  he  desired 
when  seen  at  a proper  distance.” 

— Pilkington’s  Dictionary  of  Painters. 

“No  one  has  rivaled  him  in  the  management  of  light 
and  shade;  few  in  color,  in  character,  in  the  expression 
of  homely  but  deep  sentiment.  Absolutely  original,  he 
taught  many  able  scholars,  whose  best  efforts  only  show 
how  unapproachable  he  is.” 

— Cyclopedia  of  Painters  and  Paintings. 

“He  was  undoubtedly  the  greatest  master  of  chiaros- 
curo that  the  -world  has  ever  produced,  and  one  of  the 
great  colorists;  in  the  harmony  of  his  tones  no  other 
painter,  with  perhaps  the  exception  of  Titian,  has  equalled 
him.  Although  his  portraits  are  without  dignity  or  em- 
bellishment, they  exhibit  so  much  nature  and  animation, 
such  truth  and  force  of  coloring,  that  it  is  allowed  he  has 
never  been  surpassed  in  this  particular  branch.” 

— Spooner’s  History  of  the  Fine  Arts. 

“His  coloring  is  surprising  and  his  carnations  are  as 
true  and  fresh  as  those  in  the  work  of  Titian  or  any  other 
master,  with  his  difference,  that  the  coloring  of  Titian 
will  admit  of  the  nearest  inspection,  whereas  that  of  Rem- 
brandt must  be  viewed  from  a convenient  distance  and 
then  an  equal  degree  of  union,  force  and  harmony  may  be 
observed  in  both.” 


— Pilkington’s  Dictionary  of  Painters. 


INDEX  AND  BIOGRAPHICAL  NOTES.  141 


“Rembrandt  excelled  alike  in  every  style,  and  treated 
with  equal  felicity  the  noblest  subjects.  His  works  are 
principally  remarkable  for  perfect  command  of  chiaros- 
curo, picturesque  effect  and  truth  to  nature.  He  combined 
the  greatest  freedom  and  grace  of  execution  with  thorough 
knowledge  of  all  the  technical  processes  alike  of  painting, 
engraving  and  etching.  He  has  been  justly  called  the 
Dutch  Correggio.” 

— D’Anvers ’ Elementary  History  of  Art. 


No.  139 — “The  Burgomaster.” 

30x24. 

From  the  collection  of  Jacob  Anthony  Van  Damm,  of 
Dorchert. 

This  was  painted  after  the  manner  of  this  great  mas- 
ter’s most  attractive  style.  He  painted  sometimes  very 
broadly,  much  more  so  than  this  picture,  and  again  more 
smoothly  and  with  more  finish  but  less  beauty  of  tones  and 
color.  It  is  difficult  to  find  in  the  range  of  all  his  works 
a more  beautiful  single  portrait  than  is  found  in  this 
picture.  The  tones  are  soft,  refined  and  most  beautiful 
in  color  and  withal  it  is  carefully  and  finely  finished. 


No.  140 — “Portrait  of  a Woman.” 

10x8. 

This  small  portrait  is  from  the  Olden  Barnevelt  Collec- 
tion— one  that  was  formed  away  back  in  the  days  of  Rem- 
brandt, when  it  would  have  been  no  object  in  putting 
that  artist’s  name  upon  the  picture  of  any  artist  who 
could  paint  a picture  that  could  be  passed  on  the  public 
for  a genuine  painting  by  Rembrandt. 

It  represents  a plain,  prominent  woman,  perhaps  the 


142 


T.  B.  WALKER  COLLECTION. 


wife  of  a merchant  or  an  alderman;  and,  while  it  does  not 
represent  an  especially  brilliant  or  attractive  woman,  yet 
a plain,  wholesome  woman  of  the  times.  In  the  fine  color- 
ing and  attractive  art  of  this  painter  who,  during  his  early 
years,  was  looked  upon  as  only  a painter  of  merit,  but 
who  has  since  come  to  take  the  very  front  rank  of  all  the 
portrait  colorists  of  the. world. 


No.  141 — “Portrait  of  Rembrandt,  by  Himself.” 

26x32. 

From  Collection  of  Colonel  Broderick. 

A genuine  Replica  of  painting  now  in  the  Musee  du 
Louvre,  Paris. 

He  painted  his  own  portrait  many  times,  and  in  numer- 
ous cases  duplicated  the  same  portrait. 

From  the  Collection  of  Colonel  Broderick,  living  in  the 
south  of  England,  in  whose  family  this  picture  has  been 
for  upwards  of  a hundred  years,  and  was  always  recog- 
nized and  known  as  a genuine  painting  by  Rembrandt. 

The  high  finish  and  tone  of  coloring  would  indicate  this 
to  have  been  painted  toward  the  close  of  what  might  be 
termed  his  first  period.  Age  has  left  its  marks  upon  the 
canvas;  yet  after  the  lapse  of  almost  three  centuries,  the 
outlines  are  distinct,  the  coloring  beautiful,  and  the  paint- 
ing a fine  characteristic  example. 


RENI  (Guido). 

Born  at  Bologna  in  1575.  Died  at  Bologna  in  1642. 

Pupil  first  of  Denis  Calvart  and  afterwards  of  the  Caracci, 
and  favorite  disciple  of  Ludovico. 

Contemporary  associate  and  competitor  for  supremacy 


INDEX  AND  BIOGRAPHICAL  NOTES.  143 


with  Raphael,  Correggio,  Parmegiano,  Paul  Veronese, 
Caravaggio,  The  Caracci,  Albani,  Riberi  and  Domenichino. 

“Such  was  the  infatuation  that  prevailed  at  Rome  in 
favor  of  the  works  of  Caravaggio,  that  when  the  Cardinal 
Borghese  gave  him  the  commission  to  paint  his  celebrated 
picture  of  the  ‘Crucifixion  of  St.  Peter,’  he  expressly 
stipulated  that  it  should  be  painted  in  the  manner  of  that 
master.  Without  departing  from  his  engagement,  Guido 
exhibited  in  the  composition  and  design  a correctness, 
dignity  and  grandeur,  far  superior  to  Caravaggio.  He 
now  rose  rapidly  in  public  estimation  and  received  such 
flattering  encouragement  as  produced  many  enemies. 

“Guido  is  generally  regarded  as  the  most  distinguished 
disciple  of  the  school  of  the  Caracci,  with  the  excep- 
tion of  Domenichino,  and  some  even  give  him  the  pref- 
erence. The  Italians  say  of  him  that  ‘grace  and  beauty 
dwelt  upon  his  pencil  to  animate  his  figures.’  The  cbs~ 
tinguishing  characteristics  of  his  style  are  elegance  and 
grace,  a singular  facility  of  execution,  a free  but  delicate 
pencil,  an  exquisite  touch,  and  a great  suavity  and  har- 
mony of  coloring.” — Spooner's  History  of  Fine  Arts. 

“A  prime  master  in  the  Bolongnese  school  of  painting, 
and  one  of  the  most  admired  artists  of  the  period  of  in- 
cipient decadence  in  Italy. 

“The  character  of  Guido’s  art  is  so  well  known  as 
hardly  to  call  for  detailed  analysis,  beyond  what  we  have 
already  intimated.  His  most  characteristic  style  exhibits 
a prepense  ideal,  of  form  rather  than  character,  with  a 
slight  mode  of  handling,  and  silvery,  somewhat  cold  color. 
In  working  from  the  nude  he  aimed  at  perfection  of  form, 
especially  marked  in  the  hands  and  feet. 

“His  best  works  have  beauty,  great  amenity,  artistic  feel- 
ing, and  high  accomplishment  of  manner,  all  alloyed  by 
a certain  core  of  common-place.” 

— Encyclopedia  Britannic  a. 

“His  first  works  are  painted  in  the  style  of  the  Caracci; 
but  he  subsequently  adopted  in  some  degree  that  of  Cara- 


144 


T.  B.  WALKER  COLLECTION. 


vaggio.  His  pictures  are  models  of  grace,  delicacy  and 
beauty  of  expression.  He  succeeded  especially  in  pathetic 
and  devotional  subjects.” 

— Lippincottfs  Pronouncing  Biographical  Dictionary. 

“After  painting  several  years  in  Bologna,  where  his  pic- 
tures excited  admiration,  he  went  to  Rome  about  1608 
with  his  fellow-pupil  Francesco  Albani,  and  notwithstand- 
ing the  opposition  of  Caravaggio  and  of  Annibale  Caracci, 
then  at  work  in  the  Palazzo  Farnese,  he  soon  won  an 
honorable  position.  Caravaggio  was  then  the  fashion  in 
Rome,  and  when  Cardinal  Borghese  gave  Guido  an  order 
for  the  ‘Crucifixion  of  St.  Peter’  he  coupled  it  with  the 
command  that  it  should  be  in  the  manner  of  that  painter. 
Guido  obeyed,  but  he  gave  his  composition  a grandeur 
and  dignity  beyond  the  powers  of  Caravaggio. 

“Guido’s  productions  vary  much  in  manner  according 
to  the  time  of  their  execution  and  may  be  assigned  to 
three  different  periods:  the  first,  marked  by  strong  con- 
trasts of  light  and  shade;  the  second  or  transition  period, 
stronger  and  more  natural;  the  third,  grey  tones  and  in- 
sipid sentiment.” — Cyclopedia  of  Painters  and  Paintings. 

“No  fresco  in  the  world  is  more  simply  beautiful  than 
his  ‘Aurora,’  nor  any  portrait  more  pathetic  than  the  so- 
called  ‘Beatrice  Cenci.’ 

“In  his  early  practice  he  blended  the  precepts  of  the 
Eclectics  with  the  maxims  of  Caravaggio,  the  chief  of 
the  Naturalisti,  and  so  modified  both  by  mingling  them 
with  his  own  ideal,  drawn  principally  from  such  antiques 
as  the  Niobe,  that  he  produced  a variety  of  styles:  one, 
in  which  he  strove  to  copy  the  manner  of  Michelangelo 
and  the  powerful  shading  of  the  Neapolitans;  another, 
marked  by  warmth  of  color,  heightened  sentiment  ,and 
flowing  lines  of  form,  which  comprise  his  finest  efforts; 
and  a third  still  later  and  ‘silvery’  tone,  where  the  picture 
seems  washed  in  delicate  and  airy  but  feeble  grays.” 

— Radcliffe’s  Schools  and  Masters  of  Painting.., 


INDEX  AND  BIOGRAPHICAL  NOTES.  145 


No.  142 — “The  Last  Hours  of  Cleopatra.” 

40x34. 

This  painting  was  for  many  years  a conspicuous  piece 
in  the  well  known  collection  of  the  Miles  family  at  Leigh 
Court,  and  of  Sir  Cecil  Miles,  from  whose  collection  it 
was  obtained  at  the  sale  of  those  pictures. 

One  of  the  best  known  art  critics  in  Europe,  Dr. 
Waagen,  Director  of  the  Royal  Gallery  of  Pictures  in 
Berlin,  in  1854  published  an  extensive  art  dictionary,  en- 
titled “Art  Treasures  in  Great  Britain.”  In  Vol.  3, 
Page  178,  he  says,  “On  my  first  sojourn  in  England  in 
1835,  the  fame  of  the  pictures  belonging  to  J.  P.  Miles, 
Esq.,  mainly  induced  me  to  visit  that  part  of  the  country,” 
and  in  describing  the  collection,  when  describing  those  in 
the  drawing  room,  he  says,  “Guido  Reni,  Cleopatra.  The 
original  of  innumerable  repetitions.  Extremely  pleasing 
in  beauty  of  features,  expression,  clearness  of  coloring 
and  melting  execution.”  In  this  it  will  be  seen  that  he 
regards  it  as  undoubtedly  the  genuine  original  of  the  in- 
numerable repetitions  that  are  common  in  Europe.  The 
genuineness  of  this  picture,  as  far  as  we  can  learn,  has 
never  been  questioned  by  the  art  critics  in  England. 

REYNOLDS  (Sir  Joshua). 

Born  at  Plympton,  Devonshire,  England,  July  16,  1723. 

Died,  Feb.  23,  1792. 

Studied  under  Hudson. 

“Sir  Joshua  Reynolds  was,  on  very  many  accounts,  one 
of  the  most  memorable  men  of  his  time.  He  was  the  first 
Englishman  who  added  the  praise  of  the  elegant  arts  to 
the  other  glories  of  his  country.  In  taste,  in  grace,  in 
facility,  in  happy  invention,  and  in  the  richness  and  har- 
mony of  coloring,  he  was  equal  to  the  great  masters  of 
the  renowned  ages.  In  portrait  he  went  beyond  them; 


146 


T.  B.  WALKER  COLLECTION. 


for  he  communicated  to  that  description  of  the  art,  in 
which  English  artists  are  the  most  engaged,  a variety,  a 
fancy,  and  a dignity,  derived  from  the  highest  branches, 
which  even  those  who  professed  them  in  a superior  man- 
ner, did  not  always  preserve,  when  they  delineated  in- 
dividual nature.  His  portraits  remind  the  spectator  of 
the  invention  of  history  and  the  amenity  of  landscape. 
In  painting  portraits,  he  appeared  not  to  be  raised  upon 
that  platform,  but  to  descend  to  it  from  a higher  sphere. 
His  paintings  illustrate  his  lessons,  and  his  lessons  seem 
to  be  derived  from  his  paintings. 

“He  possessed  the  theory  as  perfectly  as  the  practice 
of  his  art.  To  be  such  a painter  he  was  a profound  and 
penetrating  philosopher. 

“In  full  affluence  of  foreign  and  domestic  fame,  admired 
by  the  expert  in  art,  and  by  the  learned  in  science;  courted 
by  the  great,  caressed  by  sovereign  powers,  and  celebrated 
by  distinguished  poets,  his  native  humility,  modesty  and 
candor  never  forsook  him,  even  on  surprise  or  provoca- 
tion; nor  was  the  last  degree  of  arrogance  or  assumption 
visible  to  the  most  scrutinizing  eye,  in  any  part  of  his 
conduct  or  discourse.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“Painting  in  England  fell  into  a state  of  barbarism,  till 
Reynolds,  like  the  sun,  threw  splendor  on  the  department 
of  portraiture.  Hence  it  may  be  said  that  the  English 
school  may  be  of  his  foundation.  To  the  grandeur,  truth 
and  simplicity  of  Titian,  and  the  daring  strength  of  Rem- 
brandt, he  united  the  chasteness  and  delicacy  of  Van 
Dyck.  In  his  representation  of  children  he  was  pecu- 
liarly happy  and  indeed  unrivalled.  His  female  portraits 
are  designed  with  exquisite  taste  and  elegance.  His 
works  in  history  are  comparatively  few;  but  those  few 
are  precious  and  show  what  he  was  capable  of  perform- 
ing. The  coloring  of  Sir  Joshua  has  been  the  subject  of 
the  highest  admiration.  It  was  observed  by  Gains- 


INDEX  AND  BIOGRAPHICAL  NOTES.  147 


borough,  that  Sir  Joshua’s  pictures  in  their  most  decayed 
state,  were  better  than  those  of  any  other  artist  of  his 
time  in  their  best.  On  the  26th  of  April,  1769,  was  the 
first  exhibition  of  the  Royal  Academy  and  from  that  time 
to  the  year  1790,  Sir  Joshua  sent  in  no  less  than  244  pic- 
tures. On  the  institution  of  the  Royal  Academy  in  1769, 
the  presidency  was  unanimously  conferred  on  Reynolds, 
who  at  the  same  time  received  the  honor  of  knighthood.” 
— Pilkington’ s Dictionary  of  Painters. 

“He  had  a deep  sense  of  character,  great  skill  in  light 
and  shade,  a graceful  softness  and  an  alluring  sweetness, 
such  as  none  have  ever  surpassed.  Never  before  had  a 
painter  exercised  his  art  with  such  delicate  perception  and 
profound  understanding,  his  models  saw  their  very 
thoughts  revealed  on  his  canvas  and  their  individuality 
fully  preserved.  They  saw  themselves  by  the  magic  of 
his  art  lifted  above  the  commonplace  into  a realm  of 
poetry  and  grace.  . . . The  grace  and  ease  of  his  com- 
positions were  a lesson  for  the  living  to  study 

He  sought  to  restore  nature  to  the  looks  of  his  sitters. 
. . . . His  works  diffused  a love  of  elegance  and  united 

with  poetry  in  softening  the  asperities  of  nature.  . . . 

His  cold  stateliness  of  character  and  his  honorable  pride 
of  art,  gave  dignity  to  his  profession.  Of  historical  and 
poetic  subjects  he  painted  upwards  of  a hundred  and 
thirty.  Those  are  chiefly  in  England.” 

— Cunningham's  British  Painters. 

“In  1768,  on  the  establishment  of  the  Royal  Academy, 
he  was  chosen  its  first  president,  and  was  knighted  by 
George  III.  On  the  death  of  Allan  Ramsay  (1784),  he 
became  principal  painter  in  ordinary  to  the  king.  He  ex- 
hibited 245  works  at  the  Royal  Academy,  his  contributions 
averaging  eleven  annually.  Ruskin  calls  him  ‘The  Prince 
of  Portrait  Painters’  and  ‘One  of  the  Seven  Colorists  of 
the  World,’  placing  him  with  Titian,  Giorgione,  Correg- 
gio, Tintoretto,  Veronese  and  Turner.” 

— Cyclopedia  of  Painters  and  Paintings. 


148 


T.  B.  WALKER  COLLECTION. 


No.  143— “The  Banished  Lord.” 

26x30 14 

From  the  Collection  of  the  Earl  of  Egremont. 

This  is  an  original  painting  by  Reynolds,  of  which  another 
edition  or  replica  is  in  the  National  Gallery.  It  was  quite 
a favorite  subject  of  this  painter,  of  which  the  first  one 
was  so  favorably  received  that  at  least  two  others  were 
afterwards  painted.  It  was  one  of  the  favorite  pictures 
in  the  Collection  of  the  Earl  of  Egremont  in  whose  gallery 
it  hung  for  many  years. 

Mr.  Blair  Hough,  Art  Writer,  of  New  York  City,  said 
of  this  picture,  “Any  artist  that  could  produce  this  one 
portrait  would  by  this  alone  bring  himself  into  the  class 
of  the  world’s  great  masters  of  painting.” 

No.  144 — “The  Honorable  George  Greville.” 

25x30. 

From  the  Collection  of  Lord  Edward  Fitzgerald, 
Dublin,  Ireland. 

Greville  was  a descendent  of  the  very  prominent  old 
house  of  Greville,  of  which  Fuke  and  Rober  Greville  were 
descendents  from  the  same  line  of  ancestors.  He  became 
the  second  Earl  of  Warwick,  was  a Member  of  Parliament, 
a Lord  of  Trade,  and  Recorder  of  Warwickshire;  and 
this  is  the  only  known  portrait  of  him  by  any  of  the  great 
English  painters.  It  was  painted  about  1790.  He  died  in 
1816. 

No.  145 — “Portrait  of  Mrs.  Edmund  Burke.” 

2714x33. 

From  the  Collection  of  Viscount  Powerscourt. 

Mrs.  Jane  Burke  was  the  daughter  of  Dr.  Nugent,  of 
Bath.  She  was  married  to  Edmund  Burke,  the  noted  British 
Statesman  and  Orator  in  1757.  The  union  seems  to  have 
been  a singularly  happy  one,  since  Mr.  Burke  was  ac- 


INDEX  AND  BIOGRAPHICAL  NOTES.  149 


customed  to  say,  “Every  care  vanished  the  moment  he 
entered  under  his  own  roof.” 

This  has  been  pronounced  the  finest  portrait  painting 
in  America. 


No.  146— “Miss  Darner.” 

24x29. 

From  Collection  Mr.  R.  G.  Davis,  Manager  Bank  of  Africa, 
Walmer  House,  Catford,  Kent. 

Grandaughter  of  William  Henry  Dawson,  M.  P.  for 
Portarlington  and  for  Queens  County,  or  Baron  Dawson, 
of  Dawson’s  Court,  Queens  County  (Peerage  of  Ireland), 
1770  to  1779.  The  family  name  was  Dawson-Damar.  Her 
father,  John  Dawson-Damar,  was  Second  Viscount  or 
Earl  of  Portarlington,  1779  to  1785,  and  was  the  only 
Damar  contemporary  with  Sir  Joshua  Reynolds. 


RIGAUD  (Hyacinthe). 

Born  at  Perpignan,  July  18,  1659.  Died  in  Paris, 

Dec.  29,  1743. 

French  school;  history  and  portrait  painter,  pupil  of 
Pezet,  Verdier  and  Ranc.” 

-—Cyclopedia  of  Painters  and  Paintings. 

“In  1681  he  went  to  Paris,  and  the  year  following 
gained  the  prize  at  the  academy.” 

— Pilkington’s  Dictionary  of  Painters. 

“By  the  advice  of  Charles  LeBrun,  who  discovered  in 
him  a decided  talent  for  portrait  painting,  he  abandoned 
his  project  of  visiting  Italy,  and  applied  himself  particu- 
larly to  that  department.  Having  seen  some  portraits  by 
VanDyck  at  Paris,  he  was  so  much  struck  with  the  ad- 
mirable style  of  that  painter,  that  he  ever  afterwards 


150 


T.  B.  WALKER  COLLECTION. 


made  him  the  model  of  his  imitation.  The  success  of 
Rigaud  as  a portrait  painter  was  most  brilliant. 

“Hyacinthe  Rigaud  is  considered  one  of  the  ablest  por- 
trait painters  of  the  French  school.  His  heads  are  full  of 
character  and  expression,  his  coloring  more  chaste  than 
is  usual  in  the  artists  of  this  country,  and  his  touch  bold 
and  free.” — Bryan's  Dictionary  of  Painters  and  Engravers. 

“He  devoted  his  attention  exclusively  to  portraits.  In 
that  department  of  art  he  rose  to  the  highest  rank,  even 
the  studied  nobleness  of  the  attitude  of  the  persons  he 
represented  being  in  accordance  with  the  manners  of  his 
time.  His  portraits  are  said  to  have  been  excellent  like- 
nesses. Some  of  them,  such  as  the  portrait  of  Bossuet, 
now  in  the  Louvre,  and  engraved  by  Drevet,  will  always 
do  honor  to  the  French  school  of  painting.” 

— James's  Painters  and  Their  Works. 

“Hyacinthe  Rigaud  has  been  called  ‘the  French  Van 
Dyck,’  and  the  greatest  celebrities  of  his  time  sat  to  him.” 
— D'Anvers ' Elementary  History  of  Art. 

“Hyacinthe  Rigaud,  the  so-called  ‘Van  Dyck  of  France/ 
was  remarkable,  like  that  master,  for  the  emphatic  air  of 
dignity  which  he  imparted  to  his  sitters,  and  for  his 
extraordinary  power  in  divining  and  giving  expression 
to  the  special  character  of  each.  In  particular,  the  hand, 
almost  as  expressive  a feature  in  portrait  as  the  face,  was 
treated  by  him  with  wonderful  variety  and  insight.  His 
greatest  merit,  however,  was  truth  to  nature.  His  por- 
traits of  women  were  more  natural  than  those  of  men. 
Scarcely  any  artist  had  a more  distinguished  or  varied 
array  of  sitters.  Princes  and  prelates,  artists  and  literary 
men,  all  posed  in  turn  for  him.” 

— Spanish  and  French  Painters. 

“He  painted  Philip  V.  of  Spain  in  1700  and  Louis  XIV, 
in  1701,  soon  after  which  he  received  the  title  of  court 
painter.  His  touch  is  bold  and  free  and  his  design  cor- 
rect.”— Lippincott's  Pronouncing  Biographical  Dictionary. 


INDEX  AND  BIOGRAPHICAL  NOTES.  151 


“Rigaud  was  honored  with  the  Order  of  St.  Michael; 
was  appointed  a professor,  and  afterwards  director  of  the 
French  Academy.” — Spooner’s  History  of  the  Fine  Arts. 


No.  147 — “Portrait  of  Madame  De  Polignac.” 

29x24. 

A fine  example  of  the  French  school,  by  one  who  has 
been  called  “the  French  Van  Dyck,”  as  his  portraits  were 
true  likenesses  as  well  as  finely  colored  and  beautifully 
painted.  You  may  look  upon  this  as  a true  representa- 
tion of  this  prominent  lady  of  the  times,  as  well  as  beauti- 
fully painted. 


RIX  (Julian). 

An  American  artist,  whose  works,  exhibited  at  the 
American  Art  Union,  at  the  National  Academy  in  1883, 
and  at  the  San  Francisco  Art  Association  (1883),  have 
attracted  general  attention.  His  pictures  are  finely  com- 
posed, well  drawn,  and  full  of  warm  color  and  vernal 
freshness. 


No.  148 — “The  Winding  Brook.’’ 

17x14. 

A soft,  harmonious  landscape,  representative  of  the  deli- 
cate tone  and  finish  of  this  artist.  A picture  that  may  be 
hung  with  credit  by  the  side  of  a Rousseau  or  a Corot. 

A sparkling  brook,  all  but  hidden  by  the  overhanging 
grass  fringing  its  meandering  shores.  On  the  left  some 
splendid  trees,  while  farther  away  on  the  right  is  the 
border  of  the  woods. 


152 


T.  B.  WALKER  COLLECTION. 


No.  149 — “A  Scene  on  the  Delaware.” 

33x42. 

One  of  the  most  silvery  and  pearl-like  paintings  ever 
produced  by  an  American  painter.  Refined  in  color,  tone 
and  finish.  A picture  in  strong  contrast  with  the  char- 
acteristic paintings  by  this  foremost  of  our  young  Ameri- 
can painters.  It  represents  a shower  passing  over  the 
hills  on  the  opposite  side  of  the  river,  with  a bright  light 
coming  in  at  the  left,  darkening  the  shadows  of  the  rain 
that  has  just  passed  over  the  hilltops  at  the  center  of 
the  picture  and  reaching  from  there  to  the  right  of  the 
canvas. 

President  Shermer,  of  Cornell  University,  regards  this 
as  one  of  the  most  beautiful  of  all  modern  pictures. 

ROMNEY  (George). 

Born  at  Dalton-le-Furness,  Lancashire,  England,  Dec.  15, 

1734. 

Died  at  Kendal,  November  15,  1802. 

Studied  under  Steele. 

“In  1762  and  in  1765,  he  gained  premiums  from  the  So- 
ciety of  Arts,  for  his  pictures  of  the  Death  of  Wolfe  and 
the  Death  of  King  Edward.  In  1773  he  visited  Italy,  and 
after  a two  years’  absence  established  himself  in  London, 
where,  until  1797,  when  he  removed  to  Hampstead,  he 
divided  public  patronage  with  Reynolds  and  Gains- 
borough. He  painted  with  few  colors,  with  great  breadth 
of  treatment,  and  in  some  instances  with  exceeding  grace 
and  sentiment.” — Cyclopedia  of  Painters  and  Paintings. 

“Grandeur  and  simplicity  became  the  principal  objects 
of  his  ambition.  He  perceived  these  qualities  distinctly 
and  employed  them  judiciously,  even  whilst  imitating  na- 
ture in  his  occupation  of  portrait  painting.  His  style  of 
coloring  was  simple  and  broad.  In  that  of  his  flesh,  he 
was  very  successful,  exhibiting  a great  variety  of  com- 


INDEX  AND  BIOGRAPHICAL  NOTES.  153 


plexion,  with  much  warmth  and  richness.  The  executive 
part  of  his  works  was  free  and  precise,  without  being 
trifling  and  minute,  possessing  great  simplicity,  and  ex- 
hibiting a purity  of  feeling  consonant  with  the  style  of  his 
compositions.  He  aimed  at  the  best  of  all  principles  in  the 
imitation  of  nature,  that  of  generalizing  its  effects;  and  he 
even  carried  it  so  far  as  to  subject  himself  to  the  charge 
of  negligence  in  the  completion  of  his  forms;  but  the 
truth  of  his  imitation  is  sufficiently  perfect  to  satisfy 
those  who  regard  nature  systematically  and  not  individual- 
ly or  too  minutely.” 

— Pilkington’s  Dictionary  of  Painters. 

“He  was  more  employed  in  painting  portraits  than  his- 
torical subjects,  and  his  pictures  were  esteemed  inferior  to 
those  of  few  artists  of  his  time.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

No.  150 — “The  Widow.” 

21x26. 

From  the  Collection  of  Sir  Cecil  Miles,  Leigh  Court. 

The  portrait  is  that  of  a woman  yet  in  the  springtime  of 
life,  when  the  heart  beats  young,  and  all  the  world  seems 
glad.  In  the  midst  of  the  springtime  of  her  joy  she  has 
been  robbed  of  the  companionship  of  the  only  one  in  all 
the  world  to  her.  The  black  dress  and  heavy  veil  are 
outward  indications  of  mourning,  but  the  real  sorrow  is 
wonderfully  portrayed  in  the  face  and  eyes  of  the  be- 
reaved woman. 

ROBIE  (Jean  Baptiste). Paris. 

Born  at  Brussels,  1821. 

Gold  Medal,  Brussels,  1848. 

Medals  at  Paris,  1851  and  1863. 

Gold  Medal,  Hague,  1861. 

Officer  of  the  Legion  of  Honor,  1869. 


154 


T.  B.  WALKER  COLLECTION. 


No.  151 — “Roses  and  Objets  d’Art.” 

1654x27. 

This  is  a capital  example  of  this  modern  master  in  the 
field  of  still  life.  They  are  great  creamy  roses  that  seem 
to  shake  and  quiver  on  their  stems,  and  soft,  dark  ones 
that  almost  melt  in  their  own  richness.  They  bow  on 
their  stems  as  though  scarcely  able  to  sustain  their 
weight.  Rich  masses  of  color  that  are  never  equaled 
except  by  nature. 


ROSIER  (Jean  Guillaume). 

Born  in  Belgium,  1858. 

Studied  under  Cabanel,  Gerome,  and  Alma  Tadema. 

Chief  director  of  the  ‘Academy  of  Malines,  with  its 
fifteen  hundred  art  students. 

Received  a gold  medal  at  Antwerp,  1888;  a medal  at 
Cologne,  1889,  and  also  one  in  1890;  a gold  medal  at 
Munich,  1892;  a medal  of  the  first  class  (gold),  at  Ant- 
werp, 1894,  for  this  picture.  Also  a gold  medal  at  Brus- 
sels in  1897,  and  a gold  medal  at  Paris  in  1897.  Grand 
Prize  of  Rome  in  1883,  and  a medal  at  London.  Is 
Knight  of  the  Order  of  Leopold.  One  of  the  foremost 
artists  of  the  times. 

No.  152 — “King  Charles  I.,  After  the  Battle  of 
Marston  Moor.” 

7354x50. 

For  this  picture  Rosier  received  the  medal  of  honor  at 
Antwerp  in  1894.  It  represents  King  Charles  in  a castle 
near  the  battlefield  of  Marston  Moor,  where,  after  de- 
feating Cromwell,  as  was  supposed,  and  routing  his  army, 
King  Charles  with  his  staff  retired  to  formulate  plans 


INDEX  AND  BIOGRAPHICAL  NOTES.  155 


for  future  movements.  Soon  an  officer  entered  and  in- 
formed him  that  the  tide  of  battle  had  turned,  and  his 
army  was  completely  routed  and  practically  destroyed. 

The  news  has  completely  overpowered  and  paralyzed 
him,  and  he  sits  with  the  most  dejected  look  that  it  is 
possible  to  depict  on  canvas.  Next,  on  the  right,  is  Prince 
Rupert,  and  directly  opposite  is  Capt.  Stanley,  and  behind 
him  the  Minister  Oliver.  The  officer  who  brings  the  news 
stands  halting  at  the  doorway  as  though  waiting  to  see 
if  any  orders  are  to  be  given  him. 

One  of  the  most  interesting  and  realistic  pictures  that 
any  artist  has  ever  produced. 

ROUSSEAU  (Theodore Paris. 

Born  at  Paris,  1812. 

Pupil  of  Guillon-Lethiere. 

First  exhibited  in  the  Salon,  1834. 

Medals,  1834,  1840  and  1855. 

Legion  of  Honor,  1852. 

One  of  the  eight  Grand  Medals  of  Honor  (Exposition 
Universelle),  Paris,  1867. 

Died,  1867. 

Diploma  to  the  Memory  of  Deceased  Artists,  1868. 

“Among  the  great  French  landscape  painters  who  have 
not  only  guided  the  national  art  back  again  to  nature,  but 
whose  influence  was  to  be  so  important  over  the  foreign 
schools,  Theodore  Rousseau  occupies  the  highest  place, 
because  he  is  the  most  perfect  master.  The  grand  aspects 
of  landscape,  and  its  tenderness,  are  equally  familiar  to 
him.  He  renders  with  the  same  mastery  the  smiles  of 
creation  and  its  terrors,  the  broad,  open  plain  and  the 
mysterious  forest,  the  limpid,  sunbright  sky,  or  the  heap- 
ing of  the  clouds  put  to  flight  by  storms,  the  terrible 
aspects  of  landscape  or  those  replete  with  grace.  He  has 


156 


T.  B.  WALKER  COLLECTION. 


understood  all,  rendered  all,  with  equal  genius.  The  great 
contemporary  painters  have  each  a particular  stamp — 
Corot  painting  the  grace,  Millet  the  hidden  voice,  Jules 
Dupre  the  majestic  strength.  Theodore  Rousseau  has 
been  by  turns  as  much  a poet  as  Corot,  as  melancholy 
as  Millet.  He  is  the  most  complete,  for  he  embraces 
landscape  art  absolutely.” — Extracts  from  Notes  Sur  les  Cent- 
d’CEuvres,  by  A.  Wolff. 

No.  153 — “Landscape”  (Sunset). 

10x8. 

There  is  a pensive  charm  about  Rousseau’s  twilights 
and  sunsets  that  are  especially  interesting.  The  sun  is 
setting,  and  the  dark  trees  that  surround  the  little  lake, 
loom  grandly  against  the  ruddy  glare  reflected  from  the 
gorgeous  red  and  purple  garment  of  the  sky.  The  little 
lake  is  aglow  with  light,  the  sky  formation  is  striking 
and  true,  and  the  variety  of  color  very  bold  and  effective. 
Altogether,  this  is  a charming  little  picture. 

No.  154 — “Fishermen’s  Homes  in  Finistere.” 

17x12. 

Another  of  Rousseau’s  beautiful  compositions.  In  the 
foreground  is  a small  pool  or  pond.  To  the  left,  on  a 
high  bank,  are  a cluster  of  fishermen’s  houses,  surrounded 
by  tall,  stately  trees,  whose  shadows  are  vividly  reflected 
in  the  tranquil  waters  of  the  pond.  To  the  right,  the  land 
recedes  in  a gentle  incline,  forming  a knoll,  on  the  top 
of  which  some  graceful  trees  balance  off  the  picture. 
Through  the  center  distance  the  plain  fades  away  in  per- 
spective as  far  as  the  horizon.  Far  in  the  distance  a man 
and  woman  are  seen  returning  from  the  fields.  Over 
the  landscape  the  sky  is  full  of  clouds,  broken  into  fleecy 
masses. 


INDEX  AND  BIOGRAPHICAL  NOTES.  157 


No.  155 — “Landscape”  (Autumn). 

13x10. 

Another  fine  example  of  this  great  artist.  In  the  fore- 
ground a little  marshy  pool,  such  as  Rousseau  was  so 
fond  of  painting.  Surrounding  the  pool  is  dense  grass 
and  much  tall  shrubbery  in  autumnal  hues.  To  the  left 
the  ground  rises,  forming  a little  eminence,  on  the  side  of 
which  are  some  graceful  trees,  well  grouped.  To  the 
right  other  fine  trees  raise  their  tops  under  the  dark 
and  lowering  clouds.  Through  the  opening  between  the 
trees  on  each  side  of  the  picture  a hazy  light  brightens 
up  the  distant  fields. 

There  is  so  much  power  and  deep  truth  in  Rousseau’s 
pictures,  so  much  simplicity,  boldness,  and  sincerity  in 
his  manner  of  seeing  and  painting  nature,  that,  by  this 
alone,  they  have  become  great  works  of  art. 

No.  156 — “At  the  Rising  of  the  Sun.” 

11x13. 

The  first  reflection  from  the  rising  sun  is  seen  in  cloud 
and  sky.  In  the  foreground  is  a rocky  meadow  with  pools 
of  clear  water  all  but  hid  by  the  reeds  and  rushes.  Beyond 
on  the  right,  is  one  of  the  artist’s  grand  spreading  trees, 
while  on  the  left  is  the  quaint  urban  cottage  surrounded 
by  vines  and  shrubs.  The  milkmaid  sits  upon  a moss- 
covered  rock  watching  the  cow  just  turned  out  to  pasture. 
A beautiful  picture. 

RUBENS  (Peter  Paul). 

Born  in  Cologne  in  1577.  Died  in  Antwerp  in  1640. 
Studied  under  Verhaecht  and  Adam  Van  Oort,  and  for 
four  years  with  Otto  Van  Veen. 

He  was  a pre-eminent  painter,  accomplished  scholar  and 
skillful  diplomat. 

‘‘Rubens  was  undoubtedly  one  of  the  most  original 


158 


T.  B.  WALKER  COLLECTION. 


painters  that  ever  lived,  and  his  subjects  were  unlimited. 
He  painted  history,  portraits,  landscapes,  animals,  fruit 
and  flowers  with  such  excellence  that  it  is  difficult  to  de- 
cide in  which  he  most  excelled.  He  possessed  inex- 
haustible fertility  of  invention,  never  copying  himself  or 
any  other  master.  His  genius  was  adapted  to  the  grandest 
compositions  and  his  powers  appear  to  have  expanded 
in  proportion  to  the  scale  on  which  they  were  called  to  act. 
He  did  not,  like  Raffaelle,  possess  that  mild  inspiration 
of  sentiment  which  manifests  itself  in  dignified  and  noble, 
or  graceful  and  beautiful  forms,  but  he  was  animated  with 
a poetic  fire  that  displays  itself  in  surprising  and  astonish- 
ing effects.  He  is  generally  allowed  to  have  carried  the 
art  of  coloring  to  its  highest  excellence.” 

— Spooner’s  History  of  the  Fine  Arts. 

“The  fame  of  Rubens  had  long  been  established  at  the 
court  of  France  when  he  was  commissioned  by  Mary 
Medicis  in  1620  to  ornament  the  gallery  of  the  Palace  of 
the  Luxembourg.” — Bryan’s  Dictionary  of  Painters. 

“He  brought  about  a complete  reform  in  Flemish  paint- 
ing. Gifted  with  a powerful  original  genius,  Rubens  threw 
into  his  work  something  of  the  fire  and  energy  which  we 
have  noticed  in  those  of  Michelangelo’s;  his  mastery  of 
coloring,  his  brilliant  execution,  fertility  of  imagination, 
and  vitality  of  expression,  are  acknowledged  by  all.” 

— D’ Anvers’  Elementary  History  of  Art. 


No.  157 — “The  Madonna  and  the  Two  Children, 
Christ  and  John  the  Baptist.” 

33x40. 

From  the  Collection  of  Lord  Northwick. 

A portion  of  the  canvas  is  framed  down,  making  the 
picture  of  a smaller  opening  and  more  attractive.  Rubens 
produced  many  pictures  of  the  Madonna  and  the  Holy 


INDEX  AND  BIOGRAPHICAL  NOTES.  159 


Family.  This  one  shows  his  strong,  vigorous,  but  refined 
coloring  and  gives  us  a view  of  the  beautiful  example  of 
the  Mother  and  Child,  sitting  under  the  limbs  of  a tree 
which  covers  them  and  forms  the  larger  part  of  the  upper 
background. 

BY  STUDENTS  in  Perugino’s  Studio. 

No.  158 — “Raphael  and  Perugino.” 

15x21. 

These  portraits  were  painted  by  the  students  in  Peru- 
gino’s school,  at  Perugia,  about  1503.  In  the  year  1500, 
Raphael,  who  had  already  won  honors  and  renown  as  a 
painter,  entered  the  studio  of  Perugino,  and  no  doubt  ac- 
quired much  of  Perugino’s  manner,  yet  each  seemed  to 
work  independent  of  the  other,  as  their  works  (1500  to 
1505)  each  bear  the  individual  name  of  the  artists.  Raphael 
is  the  younger  of  the  two  men  and  his  portrait  is  im- 
mediately back  of  Perugino. 

SAFT-LEVEN  (Herman). 

Born  at  Rotterdam,  1609. 

Died  at  Utrecht,  1685. 

Dutch  School. 

Landscape  painter. 

“Pupil  of  Jan  van  Goyen,  but  formed  himself  chiefly 
by  studying  nature.  His  views  of  the  Rhine,  Meuse  and 
Moselle  are  well  drawn,  carefully  executed  and  enlivened 
by  figures  and  animals.  The  pictures  of  his  best  period 
are  distinguished  by  their  clear  perspective  and  a soft 
bluish  coloring.” — Cyclopedia  of  Painters  and  Paintings. 

“He  decorated  his  pictures  with  numerous  figures  and 
boats  which  are  correctly  drawn  and  touched  with  great 


160 


T.  B.  WALKER  COLLECTION. 


neatness  and  spirit.  His  coloring  is  clear  and  trans- 
parent, his  skies  light  and  floating,  and  his  distances  re- 
cede with  a pleasing  and  natural  gradation.  His  works 
are  highly  esteemed  and  are  found  in  the  choicest  col- 
lections.”— Spooner’s  History  of  the  Fine  Arts. 

“He  finished  his  pictures  with  extraordinary  neatness, 
and  by  a light,  free  touch,  as  well  as  by  a skillful  manage- 
ment of  the  aerial  perspective,  he  gave  to  his  hills,  grounds 
and  trees  a pleasing  effect.  His  skies  and  distances  are 
generally  clear;  all  of  his  objects  recede  with  perspective 
truth.” — Pilkington’s  Dictionary  of  Painters. 


No.  159 — “A  Classical  Italian  Seaport  in  Olden 
Times.” 

16x24. 

The  river  occupies  the  left  of  the  picture;  on  the  right 
great  mountains  towering  high  above  the  water’s  edge 
like  sentinels.  The  foreground  on  the  right  shows  an  old 
castle  half  way  up  the  mountain,  while  far  on  the  distant 
slopes  are  more  old  buildings,  grim  and  silent.  Many 
large  ships  are  seen  on  the  river,  and,  along  the  shore — 
some  busily  engaged  in  towing  in  boats,  others  getting 
goods  ready  for  shipment,  and  still  others  directing  the 
work — are  groups  of  men,  attired  in  the  quaint  costumes 
of  the  times.  In  this  painting  one  notes  at  once  the  fine 
perspective  and  rich  coloring  so  characteristic  of  this 
artist. 


SCHREIBER  (Charles  Baptiste) Paris. 

Born  at  Paris. 

Pupil  of  M.  Brandon  and  L.  Bonnat. 

Member  of  the  Society  of  French  Artists. 

“As  an  animal  painter  he  obtained  absolute  mastery  over 


INDEX  AND  BIOGRAPHICAL  NOTES.  161 


the  horse.  Some  artists  have  chosen  for  their  special 
favorites  cattle,  as  Paul  Potter,  or  instance;  others  sheep, 
as  the  Belgian  Verboeckhoven,  and  our  English  Cooper; 
and  others  again  dogs,  as,  supremely,  Sir  Edward  Land- 
seer; but  Schreyer  has  shown  a preference  for  the  horse 
as  the  companion,  the  faithful  servant,  and  sometimes 
the  suffering  slave  of  man.  The  horse  as  depicted  by  him 
is  not  highly  trained  or  groomed,  but  rather  a wild  crea- 
ture, flying  full  tear  across  the  wild  waste,  with  a cart  or 
carriage  rattling  at  his  heels.”— Atkinson. 

“Adolphe  Schreyer  is  another  painter  who,  like  Barye, 
Delacroix  and  Schenck,  likes  to  paint  the  stormy  side  of 
life.  He  produced  in  rapid  succession  those  pictures  of  wild 
life  in  Eastern  Europe  in  which  horses  play  so  conspic- 
uous a part,  and  which  are  so  associated  with  his  name  by 
their  subjects  that  a ‘Schreyer,’  without  a horse  or  horses, 
would  indeed  be  the  play  of  Hamlet  with  Hamlet  omitted. 
We  know  a ‘Schreyer’  as  far  as  we  can  see  it.  These 
scenes  transported  from  the  half-barbarous  lands  of  the 
Slavs  have  an  air  of  exaggeration,  but  those  who  know 
the  people  and  their  manners  assure  us  that  all  the  storm 
and  stress,  this  plunging  and  rearing  of  wild  or  half- 
tamed  horses — hoofs  pawing  the  air,  manes  and  tails 
streaming  to  the  wind,  these  swarthy  men  in  queer,  out- 
landish garb — all  these  things,  we  are  assured,  are  the 
everyday  sights  and  scenes  of  these  countries  so  far  re- 
moved from  the  route  of  the  ordinary  traveler.” 

— Tuckerman’s  Book  of  the  Artists. 

No.  160 — “The  Duett.” 

(Cardinal  and  Bishop.) 

17^x20^. 

In  a luxurious  apartment  in  the  palace,  surrounded  by 
handsome  tapestries,  rich  rugs  and  flowers,  the  Cardi- 
nal and  Bishop  are  enjoying  some  music  together.  On 


162 


T.  B.  WALKER  COLLECTION. 


the  right  is  seated  the  Cardinal  earnestly  fingering  his 
violoncello,  his  eyes  intently  following  the  music  which 
is  propped  up  on  a small  table  before  him.  Directly  op- 
posite and  facing  the  Cardinal,  stands  the  Bishop  who  is 
playing  the  violin,  which  he  appears  to  be  doing  without 
regard  to  the  music  on  the  stand.  There  is  a soulful  ex- 
pression on  the  faces;  one  of  intense  earnestness  and 
satisfaction.  As  fine  a picture  as  Vibert  ever  painted. 


SEIBOLT  (Christian). 

Born  in  Mentz  in  1697  or  1703. 

Died  in  Vienna,  May  19,  1768. 

German  School.  Portrait  Painter. 

Court  painter  to  the  Empress  Maria  Theresa  in  1749. 

No.  161 — “A  Youth.” 

1154x13. 

A pronounced  type  of  the  Dutch  school.  The  head  and 
shoulders  of  a youth  with  brown  coat  and  blue  cap.  The 
bright  piercing  eye,  the  clear  pink  ear,  and  the  soft  flesh 
tint  of  the  face  unmarked  by  age,  make  a successful  and 
pleasing  portrait  of  a half-grown  boy. 

SCHREYER  (Adolphe) Paris. 

Born  at  Frankfort-on-the-Main,  1828. 

Pupil  of  Stadel  Institute,  Frankfort. 

Studied  at  Stuttgart,  Munich  and  Dusseldorf. 
Traveled  with  Prince  Thurn  through  Hungary, 
Wallachia  and  Russia. 

Accompanied  the  Austrians  in  their  march  through  the 
Danubian  Principalities,  in  1854. 

Visited  in  Algiers  in  1861,  Syria  and  Egypt  in  1865. 
Medal,  Exposition  Universelle,  1867. 

Hors  Concours. 


INDEX  AND  BIOGRAPHICAL  NOTES.  163 


Created  Court  Painter  to  the  Grand  Duke  Mecklenburg. 

Member  of  the  Academies  of  Antwerp  and  Rotterdam. 

Honorary  member  of  the  Deutches  Nochtstift. 

“Another  famous  student  of  the  Stadel  Institute  is 
Adolphe  Schreyer,  whose  spirited  equestrian  pictures  are 
everywhere  in  demand.  He  has  treated  the  horse  in  all 
semi-barbarous  localities.  His  treatment  is  highly  dra- 
matic, original  and  free.” 

— Radcliffe’s  Schools  and  Masters  of  Painting. 

No.  162 — “Evening  in  Arabia.” 

32^x19. 

Over  the  russet  hills  a party  of  Arabs  on  horseback 
take  their  way  at  evening.  The  light  of  the  warm,  pink 
sunset  floods  landscape  and  riders,  and  adds  its  tint  to 
the  low  horizon  and  the  sky  overhead.  Three  riders  in 
the  immediate  foreground,  while  others  can  be  seen  in 
the  distance. 

Of  this  painting  Mrs.  Schreyer  wrote:  “My  husband 

has  nearly  finished  your  picture.  I think  it  is  one  of 
the  finest  he  has  ever  painted — the  most  color,  and  full  of 
light.” 

No.  163— “Scene  in  Wallachia.” 

50^x32. 

This  represents  a party  of  hardy  Wallachian  teamsters 
unhitching  their  horses  at  a country  hotel  or  station,  in 
the  early  springtime,  or  in  the  fall  of  the  year,  when  a 
light,  fresh  snow  had  been  falling,  covering  the  ground 
and  buildings.  The  soft,  warm  coloring  of  the  snow  and 
sky  makes  a very  agreeable,  beautiful  picture,  different 
from  the  colder  snow  scenes  which  sometimes  are  enough 
to  give  a person  a bad  cold  to  look  at  them. 

It  is  regarded  as  one  of  Schreyer’s  most  successful, 
agreeable  and  satisfactory  paintings. 


164 


T.  B.  WALKER  COLLECTION. 


SCHIRMER  (Johann  Wilhelm) Prussia. 

Born  at  Julich,  Rhenish  Prussia,  1807. 

Died  at  Carlsruhe,  1863. 

Pupil  of  Dusseldorf  Academy,  under  Schadow. 

Professor  at  Dusseldorf  Academy,  1839. 

Director  of  'the  Carlsruhe  Art  School,  which  he 
reorganized. 

Member  of  Berlin  and  Dresden  Academies. 

Became  famous  as  a representative  of  historical  land- 
scape in  the  style  of  Poussin. 

The  leader  of  the  Modern  German  School  of 
Landscape  Painting. 

No.  164 — “Landscape.” 

32*4x31. 

A heroic  landscape,  and  an  exceptionally  fine  example 
of  the  work  of  this  noted  artist.  In  the  foreground  is  a 
pool  or  pond  surrounded  by  high  and  rugged  banks,  on 
the  edges  of  which  tall  reeds  and  rushes  grow.  On  a 
little  shoal  near  the  shore,  a couple  of  storks  stand,  their 
forms  mirrored  in  the  clear  water.  Fine  old  trees  in  full 
foliage  crown  the  opposite  bank,  some  of  them  over- 
shadowing the  pool.  Midsummer  brightness  is  mirrored 
all  round  and  indicated  in  the  luxuriant  vegetation.  Par- 
ticularly noticeable  in  this  picture  are  the  grand  old 
trees — 

. . . . “That  like  giants  stand 

To  sentinel  enchanted  land.” 


SCHUT  (Cornelis,  the  elder). 

Born  in  Antwerp,  and  baptized  May  13,  1597. 

Died  there  April  29,  1655. 

Flemish  School. 

“History  painter;  among  the  pupils  of  Rubens,  the  one 
in  whose  works  the  master’s  style  is  most  distinctly  re- 


INDEX  AND  BIOGRAPHICAL  NOTES,  165 


fleeted;  master  of  the  guild  about  1619.  Decorated  in  1635, 
the  triumphal  arches  in  Ghent  for  the  entry  of  Prince 
Ferdinand.  Frequently  painted  center  figures  for  flower- 
wreaths  by  his  friend,  Daniel  Seghers.” 

— Cyclopedia  of  Painters  and  Paintings. 

No.  165— “Virgin  and  Child  ” 

Oval — 4x5j4. 

Mary  is  represented  as  wearing  a red  dress  and  sitting 
in  a chair  holding  the  infant  Jesus.  The  figures,  though 
small,  are  elegantly  drawn  and  beautifully  finished. 

THAULOW  (Fritz) Norway 

Born  Oct.  20,  1845,  in  Christiania,  Norway.  Died  Sep- 
tember, 1906,  in  Holland,  where  he  was  on  a visit.  His 
studio  was  in  Paris,  where  he  generally  resided  during 
the  last  fifteen  years.  He  studied  under  Von  Sorensen,  at 
the  Academy  at  Copenhagen.  Afterwards  he  studied  with 
Gude  in  Carlsruhe.  His  pictures  have  been  purchased  by 
the  principal  National  Galleries  of  Europe.  There  are 
several  in  the  National  Gallery  in  Berlin,  and  one  is  hung 
in  the  Luxemberg  Museum,  Paris. 

No.  1 66 — “Night  Scene  in  Holland.” 

A quaint  old  hamlet,  through  which  runs  a dyke  or 
canal.  On  the  left  the  peculiar  residences  are  built  upon 
the  retaining  wall  of  the  dyke,  while  on  the  right  some 
traders’  buildings,  set  back,  leaving  a narrow  roadway  be- 
tween their  fronts  and  the  wall  of  the  canal.  The  moon, 
although  unseen,  throws  a weird  light  over  all.  A low 
stone  bridge  and  the  reflection  of  a lamp  marks  a cross 
street,  while  just  beyond  are  some  lights  from  the  win- 
dows of  a friendly  inn. 

A young  man  and  his  fraulein  are  seen  in  earnest  con- 
versation in  the  foreground.  One  of  this  artist’s  best 
productions. 


166 


T.  B.  WALKER  COLLECTION. 


No.  167 — “Lovers’  Retreat.” 

1754x20. 

Another  of  Thaulow’s  unique  conceptions.  A dyke  oc- 
cupies the  center  of  the  picture,  while  in  the  distance  is 
seen  a quaint  dwelling  with  green  blinds  drawn  down  for 
the  night,  while  still  further  on  a light  is  seen  in  the  win- 
dows of  the  village  inn.  On  the  right,  in  the  shadow  of 
the  little  brown  church,  two  lovers  are  taking  advantage 
of  the  beautiful  night  for  a stroll  along  the  canal. 


TURNER  (Joseph  Mallord  William).  . . . England. 

Born  at  London,  1775. 

Died,  December  19,  1851. 

Entered  Schools  of  Royal  Aacademy  in  1789. 

Became  A.  R.  A.  in  1799;  R.  A.,  1802. 

Professor  of  Perspective  in  Royal  Academy  in  1807. 

Turner’s  genius  was  early  recognized  by  the  Royal 
Academy,  for  in  1799,  when  only  twenty-four,  he  was 
elected  an  Associate,  and  three  years  later  became  an 
Academician.  His  famous  “Liber  Studiorum”  ranks 
among  the  important  labors  of  his  life.  The  Turner  Room 
in  the  National  Gallery,  London,  contains  seventy  of  his 
best  works.  He  died  at  Chelsea,  and  was  buried  in  St. 
Paul’s  Cathedral. 

“Turner  was  not  only  the  greatest  English  landscape 
painter,  but  the  greatest  interpreter  of  nature  of  any 
time  or  country.  No  landscapes  convey  so  natural  and 
complete  a sense  of  light  and  shadow  and  atmosphere, 
or  so  entire  a mastery  of  color  as  his.” 

■ — D’ Anvers’  Elementary  History  of  Art. 

“The  exhibition  of  1815  was  a remarkable  one  as  re- 
gards Turner.  Of  the  eight  works  by  him  contained  in 
it,  four  were  in  their  several  characters  of  the  utmost 
degree  masterly — ‘The  Battle  of  Ford  Bard  in  the  Vale 


INDEX  AND  BIOGRAPHICAL  NOTES.  167 


of  Aosta,’  a large  water-color  drawing;  ‘Blind  Sand,’ 
‘Crossing  the  Brook/  and  ‘Dido  Building  Carthage/— 
all  different,  and  each  sufficient  to  have  made  a painter’s 
reputation.  They  are  all  four  now  in  the  National  Col- 
lection.”— The  Turner  Gallery. 

No.  168 — “Crossing  the  Brodk,” 

19x23 

This  picture  is  the  original  painting  made  by  this  cele- 
brated artist,  and  from  which  was  painted  the  large  canvas 
that  is  now  in  the  Turner  Collection  in  the  National  Gal- 
lery in  England. 

A view  of  the  banks  of  one  of  the  most  beautiful  rivers 
in  England — the  Tamar — which  divides  Devonshire  and 
Cornwall.  In  the  middle  foreground  is  a brook,  and  there 
are  two  girls  with  bundles.  One  of  them  is  seated  by  the 
water  side,  the  other  is  wading  the  brook,  followed  by  a 
dog  carrying  a small  parcel  in  his  mouth.  On  the  right 
is  a high  and  richly  wooded  bank,  with  a dark  arch  at  its 
base;  on  the  left,  two  fine  examples  of  Turner’s  favorite 
stone-pines.  In  the  middle  is  the  winding  Tamar.  In  the 
distance  is  Poulston  bridge,  Calstock  in  the  middle  dis- 
tance, and  beyond  this  is  Calstock  church.  The  landscape 
is  most  extensive  and  beautiful,  with  high  banks  exceed- 
ingly rich  in  wood. 

The  picture  is  from  the  collection  of  Lord  Jersey,  where 
it  remained  until  dispersed  a few  years  ago  by  his  son, 
through  the  executor  of  Lord  Jersey’s  estate. 

No.  169 — “Ancient  Italy.” 

27^x35^. 

From  the  Collection  of  the  Marquis  d’Arjuzon,  obtained 
by  him  when  he  was  attached  to  the  service  of  Queen 


168 


T.  B.  WALKER  COLLECTION. 


Victoria  when  she  came  to  France  in  1842.  It  was  after- 
wards presented  to  the  Marquis  by  the  Court  of  England 
as  a present  from  Queen  Victoria  to  him. 

The  painting  is  one  similar  to  the  “Ancient  Italy,” 
painted  by  Turner  for  Mr.  Monroe  and  sold  with  his 
estate  in  1838,  the  picture  being  substantially  the  same 
scene  but  taken  from  a different  point  of  view,  showing  a 
little  more  in  the  front  ground  with  the  two  characteristic 
Italian  trees  of  Turner,  one  on  each  side,  that  are  not 
found  in  the  “Ancient  Italy”  painted  for  Monroe.  The 
pictures  are  evidently  taken  from  a little  difference  in 
height  for  the  front  view. 

The  following  certificate  from  Georges  Mesnier,  the 
art  expert  of  the  government  of  France,  under  whose  ad- 
ministration it  was  sold  in  1899  at  the  sale  of  the  personal 
property  then  in  the  Chateau  d’Arjuzon  near  Dreux: 

“Sir:  You  have  done  me  the  honor  of  asking  my  opinion 
about  a painting  representing  “An  Evocation  of  Ancient 
Italy,”  with  a Venetian  Fete,  by  the  celebrated  English 
Master,  William  Turner  (1775-1851),  which  was  shown  to 
me  a first  time  in  1899,  when  it  was  bought  at  the  sale 
of  the  Chateau  d’Arjuzon,  near  Dreux,  the  proprietor  hav- 
ing been  Court  Chamberlain  of  King  Louis  Philippe  I., 
and,  as  such,  was  attached  to  the  service  of  Queen  Vic- 
toria, when  she  came  to  France  in  1842. 

It  appears  that  it  is  after  said  voyage  of  the  queen  that 
the  Marquis  d’Arjuzon  received  as  a gift  the  painting  by 
Turner  from  the  Court  of  England. 

Such  is  the  origin  of  this  painting  as  it  was  given  to  me 
with  documental  proofs. 

I examined  it  from  the  technical  standpoint  and  found: 

1.  That  the  picture  was  painted  on  old  canvas  and 
mounted  on  old  stretchers,  both  of  English  manufacture. 

2.  That  the  painting  had  the  density  of  paste  over  50 
years  old. 

3.  That  it  bore  trace  of  date  and  signature. 


INDEX  AND  BIOGRAPHICAL  NOTES.  169 


There  is  no  doubt  in  my  mind  that  the  painting  was 
the  work  of  William  Turner,  who  like  our  Watteau  for  his 
‘Embarking  for  Cyther’  executed  in  different  conceptions 
and  sizes  this  remarkable  composition  ‘Ancient  Italy,’  ” 
etc,  etc.  I am  Sir,  etc., 

Signed,  GEORGES  MESNIER, 

Expert  to  the  Civil  Tribune  of  Paris,  Oct.  4,  1901. 


No.  170 — “Sacrifice  to  Taurus.’’ 

39x52. 

From  Collection  of  Lord  Northwick. 

The  Greeks  and  Romans  took  from  Egypt  much  of  their 
mythology,  among  which  was  the  worship  of  the  Sacred 
Bull  (Taurus)  and  which  they  made  second  in  the  signs 
of  the  zodiac  after  Aries. 

In  times  of  war  or  famine  offerings  were  made  to  Tau- 
rus, which  were  attended  with  great  pomp  and  solemnity. 
The  artist  has  represented  such  an  offering  in  front  of  the 
temple,  while  the  multitude  on  verandas,  on  the  house  tops 
and  aboard  richly  bedecked  vessels  view  the  proceedings. 
In  the  center  of  the  picture  is  the  castle  gardens  and  be- 
yond the  main  temple  one  sees  temple  after  temple  until 
their  domes  are  lost  to  view  in  the  hazy  sky.  The  fronts 
of  the  temples  are  almost  hidden  from  view  by  beautiful 
vines  and  the  shadows  of  great  trees. 

No.  171 — “The  Tower  of  London.” 

3054x43. 

From  Collection  of  Lady  Penelope  Gage. 

Engraved  by  Longman,  Rees,  Orme,  Brown  & Green,  1831. 

A celebrated  ancient  fortress  in  London,  consisting  of  a 
collection  of  buildings  of  various  ages  on  an  elevated  po- 


170 


T.  B.  WALKER  COLLECTION. 


sition  on  the  north  bank  of  the  Thames,  outside  the  old 
city  walls.  It  covers  about  13  acres  and  is  surrounded  by 
a battlemented  wall  flanked  with  massive  towers  and  en- 
circled by  a moat.  In  the  center  is  the  white  tower  built 
by  Gundulf,  Bishop  of  Rochester,  for  William  I,  in  1078. 
It  was  successively  strengthened  by  various  English 
sovereigns.  In  the  part  called  “The  Bloody  Tower,”  the 
two  young  princes,  sons  of  Edward  IV,  were  murdered. 
The  Royal  Regalia,  crowns,  scepters,  etc.,  are  kept  in  the 
Jewel  Blouse,  and  in  other  portions  are  kept  armours, 
weapons,  etc.  The  Tower  is  now  chiefly  used  as  an  arsen- 
al. 

No.  172 — “Scene  on  Grand  Canal,  Venice.” 

17x29*4. 

From  Collection  of  Lord  Northwick,  guaranteed  a 
genuine  Turner. 

This  Canalazzo  divides  the  city  into  two  parts  and  is 
spanned  by  numerous  bridges,  the  most  important  being 
the  Rialto.  This  canal  is  also  the  main  artery  of  com- 
merce, and  is  seen  dotted  with  gondolas  and  other  pleas- 
ure craft  as  well  as  larger  vessels  of  commerce.  On  the 
left  is  seen  one  of  the  many  imposing  buildings,  and  the 
domes  and  spires  of  numerous  churches  and  palaces  may 
be  seen  almost  as  far  as  the  eye  can  reach.  The  delicate 
tints  of  the  southern  sky  making  a fit  background  for  a 
striking  picture. 


No.  173 — “Grand  Canal,  Venice.” 

1254x18. 

The  Grand  Canal  occupies  the  center  of  the  picture,  its 
emerald  waters  all  but  covered  by  boats  of  every  variety. 
On  the  left  is  one  of  the  magnificent  churches,  while  the 


INDEX  AND  BIOGRAPHICAL  NOTES.  171 


domes  and  towers  of  numerous  large  buildings  can  be  seen 
in  the  distance.  The  principal  beauty  of  the  painting  is 
the  glory  of  the  cloud  and  sky.  The  slanting  rays  of  the 
sun  reflecting  almost  every  shade  of  the  rainbow. 

UNTERBERGER  (Franz) Austria. 

Born  at  Innspruck,  1838. 

Pupil  of  Munich  Academy,  and  of  Albert  Zimmermann, 
in  Milan. 

He  studied  in  Dusseldorf,  under  Andreas  Achenbach. 
Visited  Norway  in  1860. 

Afterwards  settled  in  Brussels,  where  he  followed  the 
Belgian  School- 

Later,  visited  Southern  France  and  Italy,  and  several 
times  the  coasts  of  England  and  Scotland. 

Several  Medals. 

Order  of  Francis  Joseph. 

No.  174 — “Scene  on  the  Coast  of  Italy.” 

37x24. 

An  old  castle  situated  on  a point  of  land  jutting  out  into 
the  ocean,  and  well  into  the  center  of  the  picture.  A 
fishing  party  is  seen  on  the  rocky  shore  to  the  left.  The 
full  moon  in  the  open  space  between  the  clouds  casts  a 
long  line  of  bright  reflections  over  the  rippling  water. 
A fine,  strong,  well-toned  sky  and  a softly  painted  ocean 
surface  together  form  a very  attractive  picture. 

VAN  DYCK  (Sir  Anthony). 

Flemish  School. 

English  School. 

Born  at  Antwerp,  1599. 

Died  in  England,  1641. 

Pupil  of  Rubens. 

“He  is  chiefly  distinguished  as  a portrait  painter,  al- 


172 


T.  B.  WALKER  COLLECTION. 


though  he  executed  many  historical  paintings.  Wornum 
says:  ‘As  a portrait  painter  Van  Dyck  is  generally  allowed 
to  dispute  the  palm  with  Titian.  His  portraits  are  in- 
ferior to  Titian’s  in  color  and  in  solidity  of  effect.  In  all 
other  respects  Van  Dyck  was  fully  equal  if  not  superior  to 
the  great  Venetian  painter.’  ” 

— Hoyt’s  The  Historic  Schools  of  Painting. 
“Inferior  to  Rubens  in  imagination  and  energy  of  charac- 
ter, he  excelled  him  in  feeling  for  spiritual  beauty,  in 
elevation  of  sentiment  and  refinement  of  execution.  Van 
Dyck  was  pre-eminently  a portrait  painter,  and  as  such  is 
admitted  to  rank  with  Titian;  but  he  also  attained  to  high 
excellence  in  the  treatment  of  sacred  subjects. 

“In  portraiture  Van  Dyck  rises  to  the  greatest  height, 
and  fears  no  rival  but  Titian,  Holbein,  Velasquez  and 
Rembrandt.” — EfAnvers’  Elementary  History  of  Art. 

“Van  Dyck’s  best  work  is  in  portraiture,  and  he  is  one 
of  the  most  accomplished  masters  of  that  art.  First  in 
Italy,  and  then  at  the  court  of  Charles  I.  of  England,  he 
had  frequent  opportunity  to  immortalize  the  princes,  the 
prelates  and  the  brilliant  aristocracy  of  his  time.  All  of 
these  pictures  are  remarkable  for  a thoroughly  dignified 
conception,  a wonderful  refinement  of  psychological  por- 
traiture and  for  the  charms  of  their  incomparably  clear, 
soft  and  finely-treated  coloring.” 

— Lubke’s  “ The  History  of  Art.” 
“Refined,  elegant,  exquisite  in  taste  and  sweet  in  color, 
his  is  almost  unrivalled.  His  hands  are  noted  for  their 
beauty,  his  heads  unconstrained  and  full  of  life  and  truth; 
the  action,  simplicity  and  dignity  of  his  figures  and  grace 
of  his  draperies  are  unsurpassed.” 

— Redgrave’s  Dictionary  of  Artists  of  the  English  School. 
“In  portraiture  Van  Dyck  will  not  be  denied  the  most 
honorable  place  after  Titian,  and  it  will  then  be  admitted 
that  Titian  only  retains  this  superiority  in  the  heads  of 
his  portraits,  and  that  in  the  hands  and  accessories  he 


INDEX  AND  BIOGRAPHICAL  NOTES.  173 


was  inferior  to  our  painter,  both  in  correctness  and  ele- 
gance. His  attitudes  are  easy  and  natural,  and  they  capti- 
vate by  an  air  of  unaffected  simplicity  for  which  his  port- 
raits are  singularly  remarkable.  His  heads  are  full  of  life 
and  expression,  without  anything  of  the  coldness  and  in- 
sipidity which  are  frequently  found  in  the  productions  of 
the  portrait  painter.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“According  to  Fuseli,  Van  Dyck  deserves  the  next  place 
after  Titian  in  portrait  painting.  Inferior  to  that  master 
in  richness  and  warmth  of  coloring,  he  surpassed  him  in 
almost  every  other  respect.  He  is  unrivalled  for  the  deli- 
cate drawing  and  beauty  of  his  hands;  he  was  a perfect 
master  of  drawing  and  chiaroscuro;  he  was  admirable 
in  draperies;  with  simplicity  of  expression  and  graceful 
attitudes  he  combined  both  dignity  and  individuality;  his 
heads  are  full  of  life  and  expression  without  anything  of 
the  coldness  and  insipidity  which  are  frequently  found  in 
the  productions  of  the  portrait  painter.” 

— Spooner’s  History  of  the  Fine  Arts. 

“No  master  from  beyond  the  Alps  ever  took  up  a higher 
position  than  Van  Dyck  among  the  most  celebrated  rep- 
resentatives of  Italian  art. 

“Van  Dyck  is  one  of  the  most  brilliant  figures  in  the 
history  of  art.  That  he  should,  in  the  same  subjects 
chosen  by  Rubens,  have  attained  the  same  degree  of  ex- 
pression was  scarcely  possible.  Rubens  was  exceptional 
precisely  through  the  sweep  and  power  of  his  imagination; 
but  Van  Dyck,  applying  the  same  principles  to  portrait 
painting,  was  no  less  exceptional.  Titian,  Raphael,  Rem- 
brandt, Velasquez,  and  Frans  Hals  are  not,  on  the  whole, 
superior  to  him  in  this  branch.  They  often  delight  us 
with  their  technical  excellence  or  penetrating  study  of 
individuality,  but  their  conception  remains  entirely  differ- 
ent from  that  of  Van  Dyck.  With  him,  as  with  Rubens, 
physiognomical  interpretation  is  so  intimately  connected 


174 


T.  B.  WALKER  COLLECTION. 


with  picturesque  necessity  that  his  portraits  scarcely  ever 
fail  to  leave  an  indelible  impression  on  the  mind.” 

— Encyclopedia  Britannica. 

No.  175 — “Portrait  of  a Jewish  Rabbi.5’ 

32x26. 

From  the  collection  of  Dr.  Thompson,  of  Sheffield.  Has 
been  always  regarded  as  a genuine  painting  by  Van  Dyck 
and  has  all  the  excellent  qualities  and  characteristics  of 
this  great  painter.  The  collection  contained  a consider- 
able number  of  very  fine  genuine  paintings  of  the  leading 
English  artists. 

This  portrait  represents  a Jewish  Rabbi  with  his  hat  on, 
and  his  hand  to  his  face.  It  is  characteristic  of  Van  Dyck, 
as  he  was  most  noted  for  his  painting  of  the  hands.  The 
picture  is  very  finely  drawn,  remarkably  natural  in  color 
and  one  of  his  characteristic  portraits.  It  stands  well  its 
comparison  with  the  Rembrandt  and  Hans  Holbein  portraits 
of  this  gallery.  These  three  artists  rank  among  the  five 
greatest  of  all  the  portrait  painters,  as  they  are  commonly 
classed  by  the  art  writers,  the  other  two  being  Frans 
Hals  and  Velasquez. 

No.  176— “Mother  and  Child.” 

29^x42. 

This  beautiful  painting  is  a genuine  Replica  of  a larger 
one  which  is  in  Dulwich  Gallery,  London.  It  came  from 
the  collection  of  Lord  Jersey,  and  was  purchased  many 
years  ago,  when  its  authenticity  was  not  doubted. 


INDEX  AND  BIOGRAPHICAL  NOTES.  175 


VAN  MARCKE  (Emile)  Paris. 

Born  at  Sevres,  France,  1829. 

Pupil  of  Tryon. 

First  exhibited  in  Salon,  1857. 

Medals,  1867,  1869,  and  1870. 

Legion  of  Honor,  1872. 

Medal,  Exposition  Universelle,  1878. 

“He  was  Toon’s  pupil,  his  dear  friend,  and  his  son-in- 
law.  Under  such  circumstances,  and  given  his  remarkable 
talent,  it  is  not  wonderful  that  he  developed  very  rapidly 
into  an  admirable  artist.  His  handiwork  is  so  admirable, 
his  impulse  so  vigorous,  his  animals  so  splendidly  alive, 
and  his  landscapes  so  finely  conceived,  that  he  well  de- 
serves the  epithet,  a great  painter.” 

— Mrs.  Van  Renssalaer. 

Tryon’s  fellow  townsman  and  pupil  Van  Marcke  has 
attained  high  rank  in  the  line  of  his  master’s  successes. 
He  is,  indeed,  a master  of  brush  work  and  vivacious  effect. 
He  groups  and  models  with  excellence,  usually  making 
marked  contrast  of  color,  as  a white  cow  against  a black 
one.  His  pictures — forty-three  in  all,  up  to  1882 — have  been 
conspicuous  in  every  annual  Salon  since  he  made  his 
debut  in  ,1857.  They  form  a series  of  varied  pasture  scenes 
and  milking  times.” — History  of  French  Painting. 

No.  177— “At  Pasture.” 

36*4x2754. 

In  an  extensive  prospect  of  pasture  land,  and  in  the 
immediate  foreground,  are  three  cows.  Standing  in  full 
view  facing  the  spectator  is  a red  cow  with  white  mark- 
ings. Just  beyond  her  is  a black  cow  seen  in  profile.  At 
the  right,  another  cow  is  lying.  They  are  attended  by  a 
blue-frocked  boy,  who  is  standing  near  by.  The  fine 
drawing,  beautiful  coloring,  solid  execution  and  splendid 


176 


T.  B.  WALKER  COLLECTION. 


lights  and  shadows  make  this  painting  as  fine  as  any  one 
Tryon,  his  friend  and  master,  has  ever  produced. 


VASARI  (Giorgio). 

Born  at  Arezzo,  Tuscany,  Italy,  1511. 

Died  in  Florence,  1574. 

“Florentine  School;  pupil  of  his  father,  Antonio  Vasari, 
and  afterwards  of  Andrea  del  Sarto  and  of  Michelangelo. 
In  Florence  he  was  patronized  by  the  Medici,  for  whom  he 
executed  many  works  both  agricultural  and  decorative.” 

— Cyclopedia  of  Painters  and  Paintings. 

“He  was  taught  the  rudiments  of  drawing  by  his  father, 
and  the  first  principles  of  painting  by  William  of  Mar- 
seilles, a Frenchman  and  a painter  on  glass;  but  being  tak- 
en to  Florence  by  Cardinal  da  Cortona,  he  improved  him- 
self under  Michelangelo,  Andrea  del  Sarto,  and  other 
great  masters.  By  the  Cardinal  he  was  introduced  into 
the  Medici  family;  but  when  they  were  driven  from  Flo- 
rence, he  returned  to  his  native  city.” 

— Pilkington’s  Dictionary  of  Painters. 

“There  are  many  works  by  Vasari  in  the  different 
churches  in  Italy,  among  which  the  most  remarkable  are 
three  sacred  subjects  in  the  refectory  of  S.  Michele,  in 
Bosco,  at  Bologna;  the  Feast  of  Ahasuerus,  in  the  church 
of  the  Benedictines,  at  Arezzo;  the  Adoration  of  the  Magi, 
at  the  Conventuali,  at  Rimini. 

“He  is  allowed  to  have  been  an  able  designer,  and  to 
have  been  a competent  master  of  the  ornamental  style.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“He  was  instructed  in  design  by  Michelangelo  and 
Andrea  del  Sarto;  in  painting  by  Rosso  and  Guglielmo  da 
Marcilla,  an  eminent  glass  painter  of  that  age.  His  chief 
improvement,  however,  was  at  Rome,  whither  he  was 
brought  by  Cardinal  Ippolito  de  Medici,  and  introduced 


INDEX  AND  BIOGRAPHICAL  NOTES.  177 


by  that  nobleman  to  his  family,  who  afterwards  loaded 
him  with  riches  and  honor.  According  to  Lanzi,  ‘after 
having  designed  all  the  works  of  Michelangelo  and 
Raffaelle  at  Rome,  and  much  after  other  schools,  and  the 
antique  marbles,  he  formed  a style  in  which  we  discover 
traces  of  his  studies;  but  his  predilection  for  Buonarotti 
is  apparent.’ 

“Lanzi  further  says,  ‘He  could,  unaided,  direct  the  con- 
struction of  a grand  fabric,  adorn  it  with  figures,  gro- 
tesques, landscapes,  stuccos,  gilding,  and  whatever  else 
was  required  to  ornament  it  in  a princely  style.’ 

“By  this  means  he  became  known  in  Italy  and  was  em- 
ployed to  exercise  his  talents  in  various  cities.  He  painted 
a number  of  pictures  in  the  Vatican,  also  in  the  Hall  of  the 
Chancery,  where  he  executed  a series  of  historical  frescos 
from  the  life  of  Paul  III,  at  the  desire  of  Cardinal  Farneso. 

“Besides  his  works  at  Rome  and  Naples,  Vasari  ex- 
ecuted many  others,  among  which  are  the  Adoration  of 
the  Magi,  in  the  Coventuali  at  Rimini;  the  Feast  of 
Ahasuerus.  in  the  church  of  the  Benedictines  at  Arezzo; 
and  three  sacred  subjects  in  the  refectory  of  S.  Michele, 
in  Bosco,  at  Bologna.  Brought  into  public  notice  by  these 
works,  honored  by  the  esteem  and  friendship  of  Buona- 
rotti, and  recommended  by  his  multifarious  abilities,  he 
was  invited  to  the  court  of  Cosmo  I,  at  Florence,  whither 
he  went  with  his  family  in  1553. 

“Vasari  conducted  several  works  with  sufficient  care  to 
evince  abilities  of  uncommon  order.  Battari  does  not 
scruple  to  compare  some  of  his  portraits  to  Giorgione; 
Berghim  extols  his  Conception  in  S.  Apostolo,  at  Flo- 
rence; Lanzi  praises  his  Decollation  of  St.  John  in  the 
church  at  Rome,  dedicated  to  that  apostle,  and  says  that 
if  all  his  work  had  perished  but  the  above  and  some  of 
those  in  the  Palazzo  Vecchio  at  Florence,  his  reputation 
would  have  been  much  greater. 


178 


T.  B.  WALKER  COLLECTION. 


“He  was  the  father  of  the  history  of  painting  and  has 
transmitted  to  us  its  most  precious  materials.” 

— Spooner’s  History  of  the  Fine  Arts. 

No.  178—“  The  Holy  Family.” 

25x35. 

The  artist  presents  the  portraits  of  the  infant  Jesus  and 
John  the  Baptist,  each  upon  the  knee  of  his  mother,  and 
in  the  background  Joseph  the  carpenter.  The  portrait  of 
Mary  is  exceptionally  well  drawn  and  beautifully  colored; 
but  the  chief  feature  is  the  soft,  dimpled  forms  and  child- 
ish simplicity  of  the  two  children.  In  beholding  the  two 
innocent  faces,  John  with  a smile  and  Jesus’  face  serious, 
we  are  reminded  that  in  after  life  “John  came  eating  and 
drinking,”  while  Jesus  was  often  known  to  weep,  but  never 
known  to  laugh;  and  the  great  painter  seems  to  fore- 
shadow the  lives  of  the  two  men  in  the  splendid  portraits 
of  the  infants. 

VERNET  (Claude  Joseph) France 

Born  at  Avignon,  1712. 

Died  at  Paris,  1789. 

French  School. 

Marine  Painter. 

Son  and  pupil  of  Antoine  Vernet,  and  pupil  of 
Adrien  Manglard. 

Went  to  Rome  in  1732  and  studied  with  Fergioni, 
Panini  and  Solimena. 

He  became  the  first  marine  painter  in  Europe,  and 
was  patronized  by  many  courts. 

Was  commissioned  by  the  King  to  paint  all  the  seaports 
of  France.  He  completed  fifteen  of  the  twenty, 
when  he  became  weried  of  traveling, 
and  returned  to  France. 

“His  marines  and  seaports  vie  with  his  landscapes  for 


INDEX  AND  BIOGRAPHICAL  NOTES.  179 


superiority,  and  nothing  can  exceed  the  purity  of  his  skies. 
He  effected  a revolution  in  art  by  simply  setting  the  sun 
in  heaven.  Until  his  time  no  one  had  thought  of  painting 
the  sun  except  conventionally.  He  painted  the  effects  of 
misty  shadows  and  other  delicate  aerial  transactions  as 
no  one  had  ever  done  before.” — Ruskin. 


No.  179— "The  Harbor  of  Dieppe.” 

18x12%. 

A seaport  town  of  France.  The  port  is  enclosed  by 
two  jetties  and  bordered  by  quays.  In  the  picture  is 
shown  the  lighthouse  and  the  old  castle  to  the  left.  In 
the  foreground  are  fisher-folk  and  sailors  attending  to 
their  nets  or  lounging  on  the  quay.  Ships  at  anchor  in 
the  harbor. 


VERBOECKHOVEN  (Eugene  Joseph)  . . Brussels. 

Born  at  Warneton,  West  Flanders,  1799. 

Died,  1881. 

Medals  at  Paris,  1824,  1841  and  1855. 

Legion  of  Honor,  1845. 

Chevalier  of  the  Orders  of  Leopold,  St.  Michael  of 
Bavaria,  and  Christ  of  Portugal. 

Decoration  of  the  Iron  Cross. 

Member  of  the  Royal  Academies  of  Belgium,  Antwerp 
and  St.  Petersburg. 

“He  stands  in  the  first  rank  of  cattle  painters  of  the 
present  day  (1880),  and  is  so  full  of  commissions  that  it 
is  difficult  to  get  anything  from  him  without  infinite  pa- 
tience.”— Ottley’s  Painters  and  Engravers. 


180 


T.  B.  WALKER  COLLECTION. 


No.  180— “Loch  Lomond.’* 

47 14x28. 

A flock  of  sheep,  attended  by  a Highlander  and  his  dog, 
are  being  hurried  home  to  escape  the  threatening  storm. 
The  painting  of  the  sheep  is  particularly  fine.  Each  one 
has  its  individuality  retained  and  expressed.  Their  wool 
is  soft  and  fleecy,  their  eyes  shine,  while  their  hoofs  seem 
to  clatter  along  the  pebbly  road. 

The  figures  are  painted  by  Verboeckhoven,  while  the 
landscape  was  the  work  of  Roffiaen,  one  of  the  best  known 
landscape  artists  of  his  time. 


VERSPRONCK  (Jan). 

Born  in  Haarlem  in  1597. 

Died  there,  June  30,  1602. 

Dutch  School. 

Portrait  painter. 

“Pupil  of  Frans  Hals;  master  of  Haarlem  guild  in  1632. 
Shows  in  his  later  pictures  the  influence  of  Rembrandt.” 

— Cyclopedia  of  Painters  and  Paintings. 
“His  portraits  are  often  worthy  of  his  master,  Hals. 
Among  them  are  a group  of  Regents  of  the  Hospital  at 
Haarlem,  now  in  the  Museum  of  that  city.” 

— Painters  and  Their  Works. 


No.  181— “A  Dutch  Nobleman,” 

2014x25. 

A middle  aged  Dutch  nobleman  with  the  peculiar  cape, 
collar  and  dress  of  the  Seventeenth  Century.  The  features 
are  well  proportioned,  the  coloring  delicate,  and  the  whole 
bearing  graceful  and  dignified. 


INDEX  AND  BIOGRAPHICAL  NOTES.  181 


VUILLEFROY  (Dominique  Felix  de). 

Born  in  Paris,  1841. 

Animal  and  landscape  painter. 

Pupil  of  Hebert,  Bonnat  and  Tryon. 

Medals,  1870  and  1875. 

Legion  of  Honor,  1880. 

Hors  Concours. 

No.  182 — “Swiss  Mountain  Cattle.” 

39x3154. 

In  a narrow,  verdant  valley,  surrounded  by  beautiful 
green  tree-capped  hills,  a herd  of  hardy  mountain  cattle 
are  feeding.  Some  are  drinking  at  a quiet  pool,  that  re- 
flects the  hills,  the  sky,  and  the  faces  of  the  cattle.  The 
drawing,  coloring  and  grouping  of  the  cattle,  and  the  fine 
landscape  and  misty  sky  are  worthy  of  especial  notice. 
WALKER  (James  Alexander). 

Born  at  Calcutta,  India,  of  French  Parentage. 

At  present  residing  at  Paris,  France. 

Exhibited  in  Salon,  1884. 

No.  183 — “Scene  in  the  Franco-Prussian  War.” 

37x26. 

Through  the  narrow  streets  of  a French  village,  the 
Prussian  White  Cuirassiers  are  charging  in  full  force, 
their  horses  galloping  at  a mad  pace,  while  from  the 
windows,  roofs  and  balconies  of  the  houses — in  fact,  from 
every  conceivable  point  of  vantage,  the  French  soldiers 
at  close  range,  are  firing  upon  them.  Some  of  the  horses 
are  down,  others  have  lost  their  riders.  On  they  come, 
their  valiant  general  in  the  lead.  Certainly,  not  the  least 
of  the  horrors  of  war  are  the  sufferings  of  the  poor 
animals,  which  are  made  to  share  its  disasters  and  its 
chances.  The  background  is  one  of  smoke  and  inextri- 
cable confusion.  Nothing  could  be  more  realistic  than  the 
scene  here  depicted. 


182 


T.  B.  WALKER  COLLECTION. 


WATSON  (William)  .........  London 

An  English  Painter. 

Pupil  of  Edwin  Landseer  and  Rosa  Bonheur. 

Regarded  by  many  as  the  finest  of  all  modern 
sheep  painters. 

No.  184— “Highland  Sheep.” 

35^x24. 

This  Highland  sheep  scene  is  beautifully  drawn,  rich 
and  harmonious  in  color,  finely  balanced,  very  soft  in 
tone,  and  generally  regarded  as  owe  of  the  finest  sheep 
pictures  in  America.  The  landscape  is  as  soft  and  rich  in 
color  as  a Daubigny;  the  sheep  are  as  natural,  as  well 
drawn,  and  as  beautifully  colored  as  could  be  done  by 
either  Landseer  or  Rosa  Bonheur.  The  positions  are  all 
natural,  and  the  sheep  themselves  look  like  real  life.  The 
cattle  on  the  farther  hills,  the  valley  with  the  river  in  the 
distance,  and  the  blue  mountains  away  beyond,  blending 
with  the  gray  and  light  yellow  sky  and  mixed  fleecy 
clouds,  together  make  it  one  of  the  most  generally  at- 
tractive and  popular  pictures  of  the  collection. 

WESTERBEEK  (C  ). 


No.  185 — “Shepherdess  and  Sheep.” 

13x934. 

In  the  foreground  a flock  of  sheep  in  open  field,  attend- 
ed by  a peasant  woman.  The  long  grass  and  shrubbery, 
with  the  blue  hills  in  the  distance,  make  this  a striking 
little  picture. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


183 


No.  186 — “Pastoral  Scene  in  Holland.” 

26x45. 

Here  we  have  a rural  scene  in  Holland.  Occupying  the 
left  of  the  canvas  is  a river  on  whose  shallow  edges  grow 
long  brown  grasses  which  are  reflected  in  the  still  water. 
Several  cows  are  lazily  feeding  on  the  green  grass.  Farther 
on  is  a meadow  of  shrubbery  running  out  into  the  water, 
while  away  in  the  distance  can  be  seen  on  the  bank  of  the 
river  an  old  Dutch  windmill.  The  sky  is  a deep  blue,  grad- 
ually growing  paler  as  it  stretches  off  to  the  horizon.  A 
pastoral  scene  as  soft  and  beautiful  as  though  painted  by 
Mauve  or  Troyon. 


WILSON  (Richard). 

Born  at  Pinegas,  Montgomeryshire,  Aug.  1,  1713.  Died 
at  Llanberris,  Carnarvonshire,  May,  1782.  Landscape  and 
portrait  painter.  Pupil  of  Thomas  Wright.  Later  studied 
in  Italy.  His  picture  of  “Niobe”  gained  him  recognition  on 
its  exhibition  at  the  Society  of  Fine  Arts.  It  was  pur- 
chased by  the  Duke  of  Cumberland.  Wilson  was  one  of 
the  original  members  of  the  Royal  Academy,  and,  in  1776, 
was  appointed  its  librarian. 

“Long  after  his  death  the  popular  taste  became  educated 
to  his  standard,  and  he  is  now  regarded  as  one  of  the 
greatest  of  English  landscape  painters.” 

— Cyclopedia  of  Painters  and  Paintings. 

“In  1749  he  was  employed  by  Dr.  Hayter,  then  their 
tutor,  to  paint  portraits  of  the  Prince  of  Wales  and  the 
Duke  of  York.  There  are  many  portraits  by  him  at  the 
Garrick  Club  and  in  private  collections.  Richard  Wilson 
was  the  greatest  landscape  painter  which  the  British  School 
produced  up  to  the  end  of  the  last  century.” 

— Painters  and  Their  Works. 


184 


T.  B.  WALKER  COLLECTION. 


“The  style  of  Wilson  is  altogether  original.  Following 
nature  as  his  guide,  he  adopted  a varied  and  interesting 
manner,  distinguished  for  its  boldness  and  fidelity  to  nature, 
yet  entirely  classical.  He  avoided  the  acquisition  of  all 
adventitious  beauties  and  escaped  the  mannerism  which 
generally  arises  from  the  too  partial  study  of  favorite  mas- 
ters.”— Spooner’s  History  of  the  Fine  Arts. 

“Of  the  style  of  Wilson  it  might  be  sufficient  to  observe, 
that  it  formed  an  epoch  in  English  landscape  painting; 
being  equalled  by  none  before,  and  perhaps  not  surpassed 
by  any  who  have  followed  in  the  same  line.  His  claims 
to  praise  are  grandeur  in  the  choice  or  invention  of  his 
scenes,  felicity  in  the  distribution  of  his  lights  and  shadows, 
freshness  and  harmony  in  his  tints.  Mr.  Fuseli  says,  in  his 
figurative  manner,  that  ‘Wilson’s  taste  was  so  exquisite, 
and  his  eye  so  chaste,  that  whatever  came  from  his  easel 
bore  the  stamp  of  elegance  and  truth.  The  subjects  he 
chose  were  such  as  did  credit  to  his  judgment;  they  were 
selections  of  taste;  and  whether  of  the  simple,  the  elegant, 
or  the  sublime,  they  were  treated  with  an  equal  felicity. 
Indeed,  he  possessed  that  versatility  of  power,  as  to  be  one 
minute  an  eagle  sweeping  the  heavens,  and  the  next  a 
wren  twittering  a simple  note  on  the  humble  thorn.’  His 
coloring  was  in  general  vivid  and  natural;  his  touch  spirited 
and  free;  his  composition  simple  and  elegant;  his  lights 
and  shadows  broad  and  well  distributed;  his  middle  tints 
in  perfect  harmony;  while  his  forms  in  general  produced 
a pleasing  impression.” 

— Pilkington’s  Dictionary  of  Painters. 

“Richard  Wilson  was  the  greatest  landscape  painter 
which  the  British  School  produced  up  to  the  end  of  the  last 
century.  Fashion  may  at  one  time  cause  works  of  an  artist 
to  rise  artificially  above,  and  at  another  to  sink  below, 
their  real  value,  but  where,  as  in  case  of  Wilson’s,  the 
prices  paid  for  them  at  auctions  have  remained  about  the 
same  for  a century,  no  amount  of  adverse  and  prejudiced 


INDEX  AND  BIOGRAPHICAL  NOTES. 


185 


criticism  will  prove  that  they  are  worthless,  or  that  the 
favorable  opinion  of  those  who  purchased  them  was 
wrong.” 

— Painters  and  Their  Works,  Vol.  3,  Page  308. 

No.  187 — “On  the  Banks  of  the  Tiber.” 

33x  44^. 

Painted  in  the  style  of  Claude,  and,  by  general  assent, 
as  fine  and  beautiful  as  any  landscape  ever  produced  by 
that  artist. 

On  the  right,  almost  hidden  from  view  by  stately  trees, 
is  seen  the  ruins  of  a magnificent  palace,  with  approaches 
leading  down  to  an  arched  bridge  crossing  the  river.  Far- 
ther away,  on  the  left  shore  of  the  river,  are  the  remains 
of  other  castles,  with  rugged  hills  rising  abruptly  in  the 
background. 

The  magnificent  valley  is  visible  almost  as  far  as  eye  can 
reach,  while  shepherds  occupy  the  historic  ruins  as  sheep- 
folds,  and  the  fertile  valley  as  pastures. 

The  distribution  of  lights  and  shadows  is  unsurpassed — 
the  outlines  pleasing,  the  coloring  most  harmonious,  soft 
and  beautiful. 

ZEIM  (Felix) France. 

Born  at  Beaune  (Cote-d’Or),  1821. 

Architectural  and  marine  painter. 

Pupil  of  Art  School  at  Dijon. 

Traveled  oin  1845-1848  in  Southern  France, 

Italy  and  the  East. 

Medals,  1851,  1852  and  1855. 

Legion  of  Honor,  1857;  Officer,  1878. 

“His  pictures,  especially  his  views  of  Venice,  have  won 
for  him  a world-wide  reputation.” 

— Cyclopedia  of  Painters  and  Paintings. 


186 


T.  B.  WALKER  COLLECTION. 


“Felix  Zeim  must  not  be  forgotten  for  the  glowing  Vene- 
tian views,  architectural  and  marine,  which  we  owe  to  his 
brush.  His  tastes  are  all  Oriental,  though  he  has  painted  a 
splendid  ‘View  of  Antwerp’,  as  well  as  ‘View  of  Constanti- 
nople’.”— Radcliffe’s  Schools  and  Masters  of  Painting. 


No.  188 — “On  the  Grand  Canal,  Venice.” 

48x32. 

This  is  regarded  by  many  as  the  best  picture  painted  by 
this  artist.  The  water  appears  so  liquid,  semi-transparent, 
soft  and  rich  in  color.  The  boats  are  painted  in  the  rich 
colors  common  to  this  artist,  although  much  finer  and  bet- 
ter than  in  his  more  rapidly  executed  work.  The  sun 
shines  down  the  center  of  the  Grand  Canal  from  the  far 
distance.  The  sky  is  colored  with  a rich  yellow  tinge 
around  the  sun,  and  graduating  off  into  the  fleecy  clouds 
in  the  upper  and  outer  background.  The  Palace  of  the 
Doges  is  on  the  right  side,  and  a large  gondola  on  the  left 
side  balances  up  the  picture.  There  are  many  boats  along 
the  shore  line  and  farther  out  into  the  canal,  with  numerous 
persons  gathered  on  the  wharf  on  the  right  and  in  the 
foreground.  It  is  a picture  as  soft  and  rich  in  color  as  a 
Turner,  although  not  by  any  means  an  imitation  of  the 
work  of  that  artist. 


No.  189 — “The  Piazza,  or  Square  of  St.  Mark.” 

27x42. 

This  great  square  is  200  feet  broad  by  570  feet  long, 
and  fronts  on  the  sea.  Many  of  the  largest  buildings  have 
their  frontage  on  this  piazza,  and  may  be  seen  on  the  left 
far  into  the  distance.  All  manner  of  vessels  are  seen  on 
the  water  front,  and  all  business  seems  to  be  forgotten, 
as  the  city  is  given  over  to  a grand  holiday  fete.  The 


INDEX  AND  BIOGRAPHICAL  NOTES. 


187 


people  throng  the  streets,  and  the  whole  city  seems  clad 
in  gala  attire.  There  are  two  large  columns  in  this  square 
called  “The  Columns  of  St.  Mark.”  On  top  of  the  one 
seen  in  the  picture  is  a winged  green  Lion,  while  the  other 
is  surmounted  by  a Knight  holding  a shield  bearing  a 
cross.  The  resplendent  coloring  of  the  building  and  other 
objects  set  in  a background  of  magnificent  blue  makes  an 
exceedingly  pleasing  and  interesting  picture. 

No.  190 — “Venice  the  Queen  of  the  Sea.” 

23x31. 

On  the  left  of  the  Grand  Canal  are  many  large  buildings, 
and  still  further  one  sees  the  polished  domes  of  temples 
and  the  towering  spires  of  churches  until  the  outlines  are 
lost  to  view  in  the  declining  twilight. 

The  larger  ships  have  anchored  for  the  night  and  the 
sun  dips  low  in  the  west,  his  slanting  rays  turning  the 
blue  waters  to  gold  and  adding  glory  to  a beautiful  south- 
ern sky.  A few  pleasure  craft  are  already  seen,  and  soon 
we  may  hear  the  gondolier’s  song: 

“]Vfy  gondola’s  lying  below,  love, 

Come  open  thy  lattice  tonight, 

The  waters  invitingly  flow,  love, 

The  moon  on  their  bosom  shines  bright.” 

No.  191 — “Venice.” 

25x39. 

The  artist  here  gives  us  a splendid  view  of  the  Grand 
Canal,  its  limpid  waters  reflecting  the  blue  and  gold  of 
the  southern  sky,  and  the  outline  of  numerous  craft  float- 
ing upon  its  crystal  surface. 

To  the  right  is  the  magnificent  Palace  of  the  Doges,  or 
Governors  of  Venice,  while  far  away  on  the  left  is  seen 
the  domes  and  towers  of  numerous  churches  and  palaces 
rising  one  above  another  until  lost  to  view  in  the  dim 
distance. 


GETTY  CENTER  LIBRARY 

N 5220  W16  Cl  1907 
C.  1 

Catalog  of  the  art  collection 


3 3125  00251 


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Of  T.  B.  W 


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